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The book will contain location and descriptive details of Bantock's manuscripts that are extant, which will assist those looking to construct editions of those works which have remained in manuscript and updated editions of those works which were initially published nearly 100 years ago. A discography provides insight into the wide variety of recording companies that first served Bantock’s music. It also includes more recent and more highly refined recording sonics that help listeners hear these works in a much more solid balance and quality of sound than the multitude of 78 rpm recordings which form the initial recordings of any of Bantock’s pieces. Included in the book are sections which highlight academic theses and dissertations that discuss some of Bantock’s works. In addition citations of locations of many of Bantock’s letters still available for study are included. An index that cross-references all of these details to the works which they highlight is a major help to the reader.

In this companion book to Mrs. Dalloway, Molly Hoff illuminates much that is hidden in Virginia Woolf's celebrated and often misunderstood novel. Mrs. Dalloway is brimming with references, both overt and subtle, to other works of literature, historical events, and goings-on in Woolf's own life. Invisible Presences serves, as Hoff states in her preface, "as a kind of reference manual for commentary on individual passages that may be of interest." Virginia Woolf's Mrs. Dalloway: Invisible Presences will doubtless provide a wealth of material to enrich lesson plans and syllabi for those who, as Hoff puts it, "profess literature." It however has its own beginning, middle, and end to guide any reader. Thus it serves as two books at once. It is hoped it will lead to a deep understanding of Mrs. Dalloway and Woolf's method in general.

Virginia Woolf and the Natural World is a compilation of thirty-one essays presented at the twentieth annual international conference on Virginia Woolf. This volume explores Woolf's complex engagement with the natural world, an engagement that was as political as it was aesthetic. The diversity of topics within this collection—ecofeminism, the nature of time, the nature of the self, nature and sporting, botany, climate, and landscape, just to name a few—fosters a deeper understanding of the nature of nature in Woolf's works. Contributors include Bonnie Kime Scott, Carrie Rohman, Diana Swanson, Elisa Kay Sparks, Beth Rigel Daugherty, Jane Goldman, and Diane Gillespie, among many others from the international community of Woolf scholars.

'W. B. Yeats's "A Vision": Explications and Contexts' is the first volume of essays devoted to 'A Vision' and the associated system developed by W. B. Yeats and his wife, George. 'A Vision' is all-encompassing in its stated aims and scope, and it invites a wide range of approaches—as demonstrated in the essays collected here, written by the foremost scholars in the field.The first six essays present explications of broader themes in 'A Vision' itself: the system's general principles; incarnate life and the Faculties; discarnate life and the Principles; how Yeats relates his own work to other philosophical approaches; and his consideration of the historical process. A further three essays include an examination of the elusive 'Thirteenth Cone', a consideration of astrological features in the automatic script, and a view of the poetry within 'A Vision'. The final five essays look at contextual themes, whether of collaboration and influence—between husband, wife, and spirits, or with another poet—or the gender perspective within these interrelations, the historical context of Golden-Dawn occultism or the broader political context of fascism in the 1920s and 1930s. Throughout, the different contributors take a variety of stances with regard to texts and the automatic script.This is an important contribution to Yeats scholarship in general and a landmark in studies of 'A Vision'.

Contradictory Woolf is a collection of essays selected from approximately 200 papers presented at the 21st Annual International Conference on Virginia Woolf, hosted by the University of Glasgow. The theme of contradiction in Woolf's writing, including her use of the word 'but', is widely explored in relation to auto/biography, art, philosophy, cognitive science, sexuality, animality, class, mathematics, translation, annotation, poetry, and war. Among the essays collected in this volume are the five keynote addresses—by Judith Allen, Suzanne Bellamy, Marina Warner, Patricia Waugh, and Michael Whitworth—as well as a preface by Jane Goldman and an introduction by the editors.

Woolf and the City collects important essays selected from the nearly 200 papers delivered at the nineteenth annual international conference on Virginia Woolf. The volume includes an introduction by the editors, the conference keynote addresses, and twenty-five essays organized around six presiding themes: Navigating London; Spatial Perceptions and the Cityscape; Regarding Others; The Literary Public Sphere; Border Crossings, and Liminal Landscapes; and Teaching Woolf, Woolf Teaching. It also includes a special session of the conference, a round-table conversation on Woolf’s legacy in and out of the academy. Beyond the volume’s focus on urban issues, many of the essays address the ethical and political implications of Woolf’s work, a move that suggests new insights into Woolf as a “real world” social critic. The contributors, who include Ruth Gruber, Molly Hite, Mark Hussey, Tamar Katz, Eleanor McNees, Kathryn Simpson, and Rishona Zimring, advance Woolf studies and the broader fields of narrative studies, cultural geography, urban theory, phenomenology, and gender studies.

Interdisciplinary/Multidisciplinary Woolf comprises thirty-five essays selected from papers delivered at the 22nd Annual International Conference on Virginia Woolf, hosted by the University of Saskatchewan. Contributors link inter- and multidisciplinary scholarship to the intellectual and creative projects of Woolf and her modernist peers. Essays that identify and extend points of contact between literary studies and varied disciplines are arranged in four thematic sections: "History, Materiality, Multiplicity"; "Patterns, Practices, Principles"; "Art, Influence, Embodiment"; and "Publishing, Politics, Publics." This collection contains writing by established and emergent scholars, including Susan Brown, Patricia Clements, and Isobel Grundy (editors of Orlando: Women's Writing in the British Isles, from the Beginnings to the Present); Leslie Kathleen Hankins; Maggie Humm; and Brenda Silver.

Virginia Woolf and the Common(wealth) Reader presents twenty-eight essays and four poetic invocations delivered at the 23rd Annual International Conference on Virginia Woolf, hosted by Simon Fraser University in Vancouver, British Columbia. The theme of the conference, the concept of "common(wealth)," addresses geographical, political, and imaginary spaces in which different readers and readings vie for primacy of place. The essays in this collection, including keynote addresses by Rosemary Ashton, Paul Delany, Christine Froula, Mary Ann Gillies, Sonita Sarker, and Jane Stafford, reflect upon "common(wealth)" as a constructed entity, one that necessarily embodies tensions between the communal and individual, traditional culture and emergent forms, indigenous people and colonial powers, and literary insiders and outsiders.List of contributors: Jordan Abel, Rosemary Ashton, Claire Battershill, Wayne Chapman, Lisa L. Coleman, Kristin Czarnecki, Beth Rigel Daugherty, Jane de Gay, Paul Delany, Erica Delsandro, Jeanne Dubino, Elizabeth F. Evans, Christine Froula, Diane F. Gillespie, Mary Ann Gillies, Leslie Kathleen Hankins, Elsa Högberg, Catherine W. Hollis, Fiona Tinwei Lam, Karen L. Levenback, Paula Maggio, Patrizia A. Muscogiuri, Ira Nadel, Vara Neverow, Cecily Nicholson, Lolly Ockerstrom, Renée Sarojini Saklikar, Sonita Sarker, Kathryn Simpson, Melinda Smith, Helen Southworth, Jane Stafford, Alice Staveley, Elizabeth Willson Gordon, Nicola Wilson, Martin Winquist, and Helen Wussow.

With the addition of "Miscellaneous Poems of Later Dates" in 1914, Mrs. Dowden preserved the order of her husband's early work but imposed a partly chronological arrangement on that and future editions of Dowden's verse. She was ambitious to revive Dowden's reputation as a poet. And Dent actually advertised a two-volume Poetical Works of Edward Dowden, counting its remake of the "old volume of Edward Dowden's Poems of 1876" as one, with the "additions" just mentioned, and counting A Woman's Reliquary as the other. The present edition is therefore quasi-chronological: being strictly chronological in a tripartite divisional arrangement (i.e., "from Poems," "Miscellaneous Poems of Later Dates," and "A Woman's Reliquary"), followed by a short section entitled "Uncollected Verses," while maintaining sequences the poet designed. The division of "Uncollected Verses" is chronological according to the dates of publication, and this section is small because Mrs. Dowden had laid her hands on almost all of the already published poetry, save for that of a more ephemeral nature--for example, that published in Trinity College Dublin anthologies such as Kottabos I and II and, conjecturally, in The Irish Monthly to accompany a review of his work.

Writing Modern Ireland examines the complex literary manifestations of Ireland and Irishness from the turn of the twentieth century to very recently. Together with examinations of the nation, the collected essays consider Irish identities that may be sexual, racial, regional, gendered, disabled and able-bodied, traumatized and in the process of healing. Identity, like literary texts, is a constant process of making and remaking, revision and publication. This collection takes up the question of what it means to write modern Ireland, evoking the many resonances that name will carry: a mythic place, a land controlled from elsewhere, a nation hoped for and achieved, a nation denied and resisted, an island divided, an idea soaked in fantasies and dreams, a homeland abandoned in searches for brighter futures, a land of opportunity, a people who are many people, and a place defined by writers who both empower and challenge it. W. B. Yeats looms large, as he does in modern Irish writing, and in commemoration of his sesquicentennial year. Building on a themed issue of The South Carolina Review, the present volume is expanded and rededicated by Catherine E. Paul (Clemson University). It features critical essays by Ronald Schuchard on Yeats, Michael Sidnell on Beckett, Liam Harte on Sebastian Barry, Jefferson Holdridge on contemporary Irish poets, and Thomas Dillon Redshaw on the revival of the Cuala Press (illustrated), together with a host of significant scholarship and criticism by 14 additional international experts from the USA, UK, Belgium, France, and (of course) Ireland.

This book is a resource to enable scholars and students in Yeats studies to explore the materials in his library, which, together with his unpublished papers and manuscripts, forms part of the writer’s archive in the National Library. Generally, this first volume describes the evidence that he and his wife, George, left in books by other authors, including extensive indications of close reading and thinking on a surprising range of subjects. This book could not have been written without the generous participation of the Yeats family over many years. Their legacy, now entrusted to the National Library, is robust and endless in potential. This book is about individual cases but also the building of an oeuvre. In short, this book enriches our understanding of Yeats’s accomplishment as a writer in over fifty years of creative effort and nearly seventy-four years of abundant life.

This book is a resource to enable scholars and students in Yeats studies to explore the materials in his library, which, together with his unpublished papers and manuscripts, forms part of the writer’s archive in the National Library. Continuing from the first volume (Reading Notes), Volume II describes copies of books he wrote or edited solely in his name and subsequently revised or marked for other purposes, on occasion aided by his wife and others.This book could not have been written without the generous participation of the Yeats family over many years. Their legacy, now entrusted to the National Library, is robust and endless in potential. This book is about individual cases but also the building of an oeuvre.

Who was Harold Norse? Despite publishing over a dozen volumes of poetry between the early 1950s and the new millennium, until now, the Brooklyn-born Norse has been relegated to a footnote in accounts of twentieth century literary history. Harold Norse: Poet Maverick, Gay Laureate is the first collection of essays devoted to this enigmatic poet and visual artist. As this volume explores, Norse, who developed his craft while living in Europe during the 1950s and 1960s, is an important figure in the development of mid-twentieth century poetics. During the 1950s and 1960s, Norse was a notable figure in the plethora of little poetry magazines published in the USA and Europe through to skirmishes with respectability and acceptance (Penguin and City Lights). Norse is a key figure in the development of the cut-up process made famous by his friend, William S. Burroughs. His correspondence with his mentor, the poet William Carlos Williams, captures his poetic shifts from formalism to the development of his Brooklyn idiom, while his gripping autobiography, Memoirs of a Bastard Angel, documents his transatlantic networks of writers and artists, among them James Baldwin, Allen Ginsberg, and Charles Bukowski. And after returning to the US in the late 1960s, Norse emerged as leading figure in Gay Liberation poetry.List of contributors: Jan Herman, Erik Mortenson, A. Robert Lee, Fiona Paton, Daniel Kane, Steven Belletto, Estíbaliz Encarnación-Pinedo, Ronna C. Johnson, Kurt Hemmer, Chad Weidner, Benjamin J. Heal, Tate Swindell, Andrew McMillan, Douglas Field, Jay Jeff Jones, Todd Swindell, and James Grauerholz.

This project overall attempts to recast Appalachian literature in terms of a ‘lost tradition’ of texts that are generally out-of-print though of central importance to understanding the history of the region and its current environmental and cultural challenges. The epilogue will also consider the way that ecological-based literary criticism offers a vital language for how antebellum travel writers sought to frame the region from a 19th-century environmental point of view.The book aims to resituate the field of Appalachian Studies to an earlier historic genesis in the 19th-century and bring to light several books which have received scant scholarly attention in the canon of Appalachian and American literature, respectively. The book centers on the argument that mid-19th-century travel writers going through or from the Appalachian region drew on familiar versions of 18th-century European, mainly British, landscape aesthetics that would help make the readerly experience less alien to their erudite regional and Northern audiences. These travel writers, such as Philip Pendleton Kennedy and David Hunter Strother, consciously appropriated such aesthetic tropes as the pastoral as a way to further dramatic the effect in their nonfiction accounts of Appalachia, while the reader could find such references comforting as they considered whether to domesticate or tour the Appalachian region.

This essay collection explores the inextricable link between rhetoric, public memory, and campus history projects. Since the early twentieth century after Brown University appointed its Steering Committee on Slavery and Justice, higher education institutions around the globe have launched initiatives to research, document, and share their connections to slavery and its legacies. Many of these explorations have led to investigations about the rhetorical nature of campus history projects, including the names of buildings, the installation of monuments, the publication of books, the production of resolutions, and the hosting of public programs. The essays in this collection examine the rhetorical nature of a range of initiatives, including the creation of land acknowledgement statements, the memorialization of universities’ historic financial ties to the slave trade, the installation and removal of monuments or historical markers, the development of curriculum for campus history projects. The book takes a chronological approach, beginning with the examination of a project at a university that was built on the site of a historic Native American town, moving through a series of essays about initiatives that grew out of universities’ associations with slavery and its legacies in the United Kingdom and America, and ending with a critique of several pedagological approaches in campus history courses designed for undergraduate students.

Genial Perception offers a critical examination of Wordsworth’s and Coleridge’s naturalist construction of creative and critical perception, and a historical study of the perceptual dimension of poetic taste. “Genial” is the adjectival form of “genius,” and eighteenth-century critical naturalism understands “genial” perception as a gift of nature, as an inborn power operating autonomously through the senses and imagination and thus independently of cultural influence. By exploring the philology of keywords and binaries inherited by the two poet-critics and used to describe and interpret their perceptual experience, both creative (imaginative) and critical, Genial Perception traces how that experience reveals an unacknowledged indebtedness to discourse and language, having been silently and perhaps unconsciously shaped by patterns and trends in the literary culture in which Wordsworth and Coleridge came of age. This study shows that critical perception, often thought to be too elusive and subjective to make a proper subject for historical investigation, can be approached through study of the terms—the language—of the practical criticism that attempts to communicate it; that both critical and creative perception are far more dependent on language than is commonly recognized; and that philology, by recovering the original usage, functions, and contexts of critical keywords, provides for an accurate historical understanding of the claims made by critics in the long eighteenth century for “genial” perception, and can illuminate the dynamics of “genial” perception itself.

“Religion” has become suspect in literary studies, often for good reason, as it has become associated with reactionary politics and outdated codified beliefs. In Modernist Reformations: Poetry as Theology in Eliot, Stevens, and Joyce, the author demonstrates how three high modernist writers work to reform religious experience for an age dominated by the extremes of radical skepticism and dogmatic rigidity. The author offers new and provocative readings of these well-studied writers: Joyce and Stevens are usually considered purely secular, and the Eliot in this book is more progressive than reactionary. The readings here provide a fresh approach to their work and to the period. Using studies of religious experience by sociologists and theologians both from the modernist era and from our own contemporary world to frame the argument, the author examines the poetry closely and in detail to demonstrate that the work of these writers does not merely reflect religious themes and issues but does the actual work usually considered theological. Their poetry is theology. Modernist Reformations will renew and deepen appreciation for these writers, and perhaps their efforts at reformation may allow for our own engagement with religion in a secular age.

This project offers readings of selected individual Cantos from The Cantos of Ezra Pound provided by renowned Poundians. It is designed to be useful for those new to Pound’s epic modernist poem, with each “reading” providing a clear, detailed explanation of Pound’s often complicated poetics and fields of reference. The project will form the most complete resource on The Cantos since Carroll F. Terrell’s A Companion to the Cantos of Ezra Pound, adding developed prose readings to the source-hunting of Terrell’s project. As well as guiding the new reader, however, these essays also offer individual and often original approaches to the poetry in question, providing a wealth of critical material for those already familiar with The Cantos and pursuing the works of Pound in more depth. The variety in approaches and reading methods displayed here offers numerous strategies for readers of Pound and for readers of modernism in general.This is the third volume of three, and describes 21 Cantos in 20 essays, focusing on work published between 1956 and 1969. The first volume addresses work published between 1917 and 1934 while the second looks at Cantos published between 1937 and 1948.

Because gramophonic technology grew up alongside Ireland’s progressively more outspoken and violent struggles for political autonomy and national stability, Irish Modernism inherently links the gramophone to representations of these dramatic cultural upheavals. Many key works of Irish literary modernism—like those by James Joyce, Elizabeth Bowen, and Sean O’Casey—depend upon the gramophone for their ability to record Irish cultural traumas both symbolically and literally during one of the country’s most fraught developmental eras. In each work the gramophone testifies of its own complexity as a physical object and its multiform value in the artistic development of textual material. In each work, too, the object seems virtually self-placed—less an aesthetic device than a “thing” belonging primordially to the text. The machine is also often an agent and counterpart to literary characters. Thus, the gramophone points to a deeper connection between object and culture than we perceive if we consider it as only an image, enhancement, or instrument. This book examines the gramophone as an object that refuses to remain in the background of scenes in which it appears, forcing us to confront its mnemonic heritage during a period of Irish history burdened with political and cultural turbulence.

The Ezra Pound Studies Biennial claims a place as the flagship journal entirely devoted to Pound’s work at a time when Pound studies represents one of the most active fields in modernist scholarship. Elaborating on the life, work, and international reception of one of the prime movers of the modernist revolution in the arts and letters, this inaugural volume joins an ever-increasing number of studies examining Pound’s letters, prose, poetry, translations, companions and international reception, and taking the form among other things of critical essays and editions, digital projects, and monographs. Building on this work, the current volume features twelve high-caliber contributions written by a diverse group of established and emerging Pound scholars. Their subjects include the genesis of Pound’s Pisan Cantos, the poet’s political and economic preoccupations, his association with modernist women writers, his fascination with typography and with the Italian Renaissance, and his translations of Noh plays and French poetry.

#MeToo and Modernism offers a blend of cultural, historical, literary, and pedagogical responses applied to the themes behind today’s ongoing #MeToo Movement. This volume is organized into four sections: a three-part chronological response in which scholars analyze literary understandings of how ripples of the #MeToo Movement began to emerge in Modernist literature, followed by a pedagogical section on how to incorporate such teachings in university classrooms. Editors Robin E. Field and Jerrica Jordan foreword the collection with an introduction answering the question of why such a volume is necessary in today’s educational landscape. The introduction summarizes the current scholarship regarding #MeToo and Modernism, while also uncovering the omissions, particularly in approaching nonbinary or queer writers, as well as writers of color, that still exist; as a response, many of these essays attempt to approach these gaps. Furthermore, the introduction shows how more traditional Modernist writers--including Woolf, Forster, Wells, and Joyce--served as forerunners of early glimmers of the #MeToo Movement in Modernist Literature.

Gustav Mahler once said, “With song you can express so much more in the music than the words directly say. The text is actually a mere indication of the… hidden treasure within.” Over fourteen years, from 1887-1901, he devoted his compositional output almost exclusively to texts and ideas drawn from a collection of German folk poetry entitled Des Knaben Wunderhorn: Alte deutsche Lieder, resulting in twenty-four songs which heavily inspired his first four symphonies. This study explores Mahler’s songs based on this poetry and identifies the connections the composer found between these products of Germany’s folk past and his own contemporary environment. The songs he created comment on and engage with Vienna’s musical life, Freudian theory, Mahler’s religious life, his family relationships, his views on women and romance, economic inequality, and wartime violence. As remnants of a folk tradition, the poems contained in Des Knaben Wunderhorn served the purpose of instructing young people on ways of conducting themselves, just as fairy tales do today. Mahler’s adaptation of these stories and his updating of them to serve audiences of his own time demonstrate the universality of the lessons these poems provide, both to audiences of Mahler’s day, and also to our own.

Winner of the 2024 H. Robert Cohen/RIPM Award from the American Musicological SocietyRecently, studies of opera, of print culture, and of music in Britain in the long nineteenth century have proliferated. This essay collection explores the multiple point of interaction among these fields. Past scholarship often used print as a simple conduit for information about opera in Britain, but these essays demonstrate that print and opera existed in a more complex symbiosis.This collection embeds opera within the culture of Britain in the long nineteenth century, a culture inundated by print. The essays explore: how print culture both disseminated and shaped operatic culture; how the businesses of opera production and publishing intertwined; how performers and impresarios used print culture to cultivate their public persona; how issues of nationalism, class, and gender impacted reception in the periodical press; and how opera intertwined with literature, not only drawing source material from novels and plays, but also as a plot element in literary works or as a point of friction in literary circles.As the growth of digital humanities increases access to print sources, and as opera scholars move away from a focus on operas as isolated works, this study points the way forward to a richer understanding of the intersections between opera and print culture.

First appearing in the social sciences in the last decade, the New Materialism offers a fresh way of looking at the ways in which humanity views its relationship to the material world. This study picks up on those key insights, analyzing works that challenge the anthropocentric worldview that has defined Western thinking for millennia. Poetry drawn from the period known as Late Modernism (roughly 1930s-1970s) is examined, with particular attention paid to the ways in which the authors anticipate New Materialist perspectives. The authors include influential figures representing various anglophone traditions. Special attention is paid to the long poems of each writer: Hugh MacDiarmid’s “On a Raised Beach,” Muriel Rukeyser’s The Book of the Dead, David Jones’s The Anathemata, Melvin Tolson’s Harlem Gallery, Louis Zukofsky’s “A,” and Charles Olson’s The Maximus Poems. A concluding chapter briefly looks ahead to the persistence of materialist thinking in a key Postmodernist text: Armand Schwerner’s The Tablets. As New Materialism teaches, and these texts demonstrate, a renewed reckoning of humanity’s interaction with the material world can help engender a greater self-awareness that humanity is not the only, or best, measure of the universe.

The Beats and the Academy marks the first sustained effort to train a scholarly eye on the dynamics of the relationship between Beat writers and the academic institutions in which they taught. Rather than assuming the relationship between Beat writers and institutions of higher education was only a hostile one, The Beats and the Academy begins with the premise that influence between the two flows in both directions. Beat writers' suspicion of established institutions was a significant aspect of their postwar countercultural allure. Their anti-establishment aesthetic and countercultural stance led Beat writers to be critical of postwar academic institutions that tended to dismiss them as a passing social phenomenon. Even today, Beat writing still meets resistance in an academy that questions the relevance of their writing and ideas. But this picture, like any generalization, is far too easy. The Beat relationship to the academy is one of negotiation, rather than negation. Many Beats strove for academic recognition, and quite a few received it. And despite hostility to their work both in the postwar era and today, Beat works have made it into syllabi, conference resentations, journal articles, and monographs. The Beats and the Academy deepens our understanding of this relationship by emphasizing how institutional friction between the Beats and institutions of higher education has shaped our understanding of Beat Generation literature and culture—and what this relationship between Beat writers and the academy might suggest about their legacy for future scholars.

Once the notoriety of his reputation is set aside, critics and scholars have generally agreed that William S. Burroughs is one of the most innovative experimental writers and visual artists of the twentieth century, yet few critics and scholars have examined the nature or measured the scope of that innovation in the variety of media in which he worked, literature, film, sound tape and live performance, and none has fully explored the symbiotic relationship between archive or “word hoard” and the varieties of its published, performed and exhibited outcomes, from collaged and printed texts, to performances live and recorded, to gallery exhibitions. Such projects, both creative and critical, moreover, simultaneously critique the nature of texts, textuality and performativity—such interventions, engagements and reengagements acutely central to Burroughs’s creative enterprise.Burroughs’s work, furthermore, at root, in all of its media and the variety of its voices, is bitingly, acerbically, ruthlessly comic and even satiric, its techniques repetitive, recombinant and performative from the first, his themes or targets social control (racial, sexual, chemical) and resistance to it, his mode of expression neither the novel per se, nor even the book as a discrete unit, but the cut-up, the “routine,” the fragment and their performance as writing and its extension through bodily expression. Those routines, those pieces, those fragments, pre-existing from multiple sources, internal and external, ratiocinative or chemically induced hallucinations, were often collected, organized and collaboratively edited by others into wholes like Naked Lunch. This study takes the measure of Burroughs’ impact as a cultural force and pays particular attention to the almost unknown Burroughs archive at Florida State University.

Ramón Gómez de la Serna (1888-1963) was one of Spain’s most gifted avant-gardists. Oftentimes remembered as the inventor of the greguería—a type of witty and humorous epigram that recasts the commonplace and absurdities of everyday reality—he was a prolific writer and published dozens of novels, essays, short stories, articles, editorials, and biographies throughout his life. Two of his major works—the autobiography Morbidities (1908), and the manifesto “The Concept of the New Literature” (1909)—belong to his earliest period of experimentation. These two early works are of singular importance not only in understanding his development as an avant-gardist, but also in analyzing Spanish literature within the broader framework of European avant-garde culture. With prescient clarity, they highlight many of the aesthetic notions that would revolutionize experimental literature throughout the modernist period. This book offers the first complete English translation of Morbidities and “The Concept of the New Literature,” and it introduces anglophone readers to some of Gómez de la Serna’s most passionate ideas about modernity and “new literature.”

An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library.Imagining Musical Pasts explores the complicated archive of sources, interpretations, and people present in queer writings on opera and symphonic music from ca. 1880–1935. It focuses primarily on the work of three turn-of-the-twentieth-century music scholars—philosopher and horror writer Vernon Lee (pseud. Violet Paget), biographer and program note annotator Rosa Newmarch, and critic and amateur sexologist Edward Prime-Stevenson. Each of the three major sections of the book is organized according to the authorial personae each author adopted in their creative and scholarly work. These categories reflect the particular intellectual commitments of each figure: Lee’s fascination with the failure of written documentation to fully capture the “ghosts” of past musical experience, Newmarch’s reliance on documentary evidence to reveal some of her subject’s secrets and her stated discomfort with the role of the biographer, and Prime-Stevenson’s nostalgic use of repetition, revision, and dedication to “return” to the 1890s decades after the fact. By reframing these ways of knowing as central to each scholar’s individual approach to constructing and interpreting musical and sexual knowledge, the book draws attention to aspects of their work previously neglected or considered only in isolation.Identifying the coded references, careful nuances, and intentional and accidental gaps that make ambiguity an inherent feature of these sources requires an awareness of multiple approaches to music history beyond biography and historiography, intersecting as it does with literary scholarship, art history, the histories of science and medicine, and sound studies. This project proposes some ways in which the histories of sexuality and musicology might be more intertwined than commonly assumed.

A critical guide to Virginia Woolf and Ireland based on primary sources, designed as a scholarly resource for literary and complementary analyses of Woolf’s writings. Set in the context of a newly independent Ireland, the focus is on Virginia and Leonard Woolf’s Irish tour (28 April-8 May 1934). The Woolfs’ first visit to Ireland, the journey undertaken, people and places encountered, impressions of Ireland and the Irish point to the main themes and drive the arc of the narrative.