T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf''s ''On Being Ill'', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, bothas sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and are-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.

T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf''s ''On Being Ill'', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, bothas sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and are-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.

T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf's 'On Being Ill', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, both as sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and a re-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.

Published in association with the seminar series of the same name held by the University of Oxford, Samuel Beckett: Debts and Legacies presents the best new scholarship addressing the sources, development and ongoing influence of Samuel Beckett's work. Edited by convenors Dr Peter Fifield and Dr David Addyman, the volume presents ten research essays by leading international scholars ranging across Beckett's work, opening up new avenues of enquiry and association for scholars, students and readers of Beckett's work.Among the subjects covered the volume includes studies of:·Beckett and the influence of new media 1956-1960·the influence of silent film on Beckett's work·death, loss and Ireland in Beckett's drama - tracing Irish references in Beckett's plays from the 1950s and 1960s, including Endgame, All That Fall, Krapp's Last Tape and Eh Joe·a consideration of Beckett's theatrical notebooks and annotated copies of his plays which provide a unique insight into his attitude toward the staging of his plays, the ways he himself interpreted his texts and approached theatrical practice.·the French text of the novel Mercier et Camier, which both biographically and aesthetically appeared at a very significant moment in Beckett's career and indicates a crucial development in his writing·the matter of tone in Beckett's drama, offering a new reading of the ways in which this elusive property emerges and can be read in the relationship between published text, canon and performance

Published in association with the seminar series of the same name held by the University of Oxford, Samuel Beckett: Debts and Legacies presents the best new scholarship addressing the sources, development and ongoing influence of Samuel Beckett''s work. Edited by convenors Dr Peter Fifield and Dr David Addyman, the volume presents ten research essays by leading international scholars ranging across Beckett''s work, opening up new avenues of enquiry and association for scholars, students and readers of Beckett''s work.Among the subjects covered the volume includes studies of:·Beckett and the influence of new media 1956-1960·the influence of silent film on Beckett''s work·death, loss and Ireland in Beckett''s drama - tracing Irish references in Beckett''s plays from the 1950s and 1960s, including Endgame, All That Fall, Krapp''s Last Tape and Eh Joe·a consideration of Beckett''s theatrical notebooks and annotated copies of his plays which provide a unique insight into his attitude toward the staging of his plays, the ways he himself interpreted his texts and approached theatrical practice.·the French text of the novel Mercier et Camier, which both biographically and aesthetically appeared at a very significant moment in Beckett''s career and indicates a crucial development in his writing·the matter of tone in Beckett''s drama, offering a new reading of the ways in which this elusive property emerges and can be read in the relationship between published text, canon and performance

Published in association with the seminar series of the same name held by the University of Oxford, Samuel Beckett: Debts and Legacies presents the best new scholarship addressing the sources, development and ongoing influence of Samuel Beckett''s work. Edited by convenors Dr Peter Fifield and Dr David Addyman, the volume presents ten research essays by leading international scholars ranging across Beckett''s work, opening up new avenues of enquiry and association for scholars, students and readers of Beckett''s work.Among the subjects covered the volume includes studies of:·Beckett and the influence of new media 1956-1960·the influence of silent film on Beckett''s work·death, loss and Ireland in Beckett''s drama - tracing Irish references in Beckett''s plays from the 1950s and 1960s, including Endgame, All That Fall, Krapp''s Last Tape and Eh Joe·a consideration of Beckett''s theatrical notebooks and annotated copies of his plays which provide a unique insight into his attitude toward the staging of his plays, the ways he himself interpreted his texts and approached theatrical practice.·the French text of the novel Mercier et Camier, which both biographically and aesthetically appeared at a very significant moment in Beckett''s career and indicates a crucial development in his writing·the matter of tone in Beckett''s drama, offering a new reading of the ways in which this elusive property emerges and can be read in the relationship between published text, canon and performance

T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf''s ''On Being Ill'', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, bothas sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and are-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.

T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf''s ''On Being Ill'', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, bothas sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and are-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.

T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf's 'On Being Ill', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, both as sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and a re-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.

Published in association with the seminar series of the same name held by the University of Oxford, Samuel Beckett: Debts and Legacies presents the best new scholarship addressing the sources, development and ongoing influence of Samuel Beckett's work. Edited by convenors Dr Peter Fifield and Dr David Addyman, the volume presents ten research essays by leading international scholars ranging across Beckett's work, opening up new avenues of enquiry and association for scholars, students and readers of Beckett's work.Among the subjects covered the volume includes studies of:·Beckett and the influence of new media 1956-1960·the influence of silent film on Beckett's work·death, loss and Ireland in Beckett's drama - tracing Irish references in Beckett's plays from the 1950s and 1960s, including Endgame, All That Fall, Krapp's Last Tape and Eh Joe·a consideration of Beckett's theatrical notebooks and annotated copies of his plays which provide a unique insight into his attitude toward the staging of his plays, the ways he himself interpreted his texts and approached theatrical practice.·the French text of the novel Mercier et Camier, which both biographically and aesthetically appeared at a very significant moment in Beckett's career and indicates a crucial development in his writing·the matter of tone in Beckett's drama, offering a new reading of the ways in which this elusive property emerges and can be read in the relationship between published text, canon and performance

Published in association with the seminar series of the same name held by the University of Oxford, Samuel Beckett: Debts and Legacies presents the best new scholarship addressing the sources, development and ongoing influence of Samuel Beckett''s work. Edited by convenors Dr Peter Fifield and Dr David Addyman, the volume presents ten research essays by leading international scholars ranging across Beckett''s work, opening up new avenues of enquiry and association for scholars, students and readers of Beckett''s work.Among the subjects covered the volume includes studies of:·Beckett and the influence of new media 1956-1960·the influence of silent film on Beckett''s work·death, loss and Ireland in Beckett''s drama - tracing Irish references in Beckett''s plays from the 1950s and 1960s, including Endgame, All That Fall, Krapp''s Last Tape and Eh Joe·a consideration of Beckett''s theatrical notebooks and annotated copies of his plays which provide a unique insight into his attitude toward the staging of his plays, the ways he himself interpreted his texts and approached theatrical practice.·the French text of the novel Mercier et Camier, which both biographically and aesthetically appeared at a very significant moment in Beckett''s career and indicates a crucial development in his writing·the matter of tone in Beckett''s drama, offering a new reading of the ways in which this elusive property emerges and can be read in the relationship between published text, canon and performance

Published in association with the seminar series of the same name held by the University of Oxford, Samuel Beckett: Debts and Legacies presents the best new scholarship addressing the sources, development and ongoing influence of Samuel Beckett''s work. Edited by convenors Dr Peter Fifield and Dr David Addyman, the volume presents ten research essays by leading international scholars ranging across Beckett''s work, opening up new avenues of enquiry and association for scholars, students and readers of Beckett''s work.Among the subjects covered the volume includes studies of:·Beckett and the influence of new media 1956-1960·the influence of silent film on Beckett''s work·death, loss and Ireland in Beckett''s drama - tracing Irish references in Beckett''s plays from the 1950s and 1960s, including Endgame, All That Fall, Krapp''s Last Tape and Eh Joe·a consideration of Beckett''s theatrical notebooks and annotated copies of his plays which provide a unique insight into his attitude toward the staging of his plays, the ways he himself interpreted his texts and approached theatrical practice.·the French text of the novel Mercier et Camier, which both biographically and aesthetically appeared at a very significant moment in Beckett''s career and indicates a crucial development in his writing·the matter of tone in Beckett''s drama, offering a new reading of the ways in which this elusive property emerges and can be read in the relationship between published text, canon and performance