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Thomas Carlyle, renowned nineteenth-century essayist and social critic, came to be thought of as a secular prophet by many of his readers and as the "undoubted head of English letters" by Ralph Waldo Emerson. Historical Essays brings together Carlyle's essays on history and historical subjects in a fully annotated modern edition for the first time. These essays, which were originally collected in Critical and Miscellaneous Essays, span Carlyle's career from 1830 to 1875 and represent a major facet of his writings. This edition uses all the extant authoritative versions of the essays to create an accurate critical text and includes a mine of lucidly presented information to enhance readers' understanding of Carlyle's densely allusive prose. The collection includes essays on the French Revolution, Cromwell, Frederick the Great, and medieval Scandinavia. It also includes such essential pieces as "On History," "On History Again," "Count Cagliostro," and "The Diamond Necklace." Together the essays show Carlyle positioning himself in relation to the new Romantic historiography but not yet ready to adopt the strictures of modern scientific history.They also exhibit his talent for analyzing the historical significance of seemingly minor events. He describes a plot to steal a diamond necklace in which Marie Antoinette became implicated, a visit of Whig sympathizers to the National Assembly during the French Revolution, and the kidnapping of two fifteenth-century German princes, one of whose descendents was Carlyle's contemporary Prince Albert. This volume, the third of the eight-volume Strouse Edition of Carlyle's works, includes a historical introduction and illustrations along with complete textual apparatus.

First published in 2004. This is an edited version of ‘A Literary History of the Arabs’, published in 1907 by the author to include more useful information and accuracies and is meant for students of Arabic

Political, literary, and cultural historians of the early modern Anglophone world have long characterized the crucial century between 1642 and 1742 as the period when absolutist theories of sovereignty yielded their dominance to shared models of governance and a burgeoning doctrine of unalienable, individual rights. Yet even the most cursory glance at the cultural record, reveals that individualism was largely a footnote to a conflict over the production of political and cultural authority that erupted around the middle of the seventeenth century between sovereignty and collectivity. Collective Understanding, Radicalism, and Literary History reaches back to the English civil wars (1642-46, 1648) when a distinctive and anti-authoritarian hermeneutic emerged from the dissident community known as the Levellers. Active between 1645 and 1653, the Levellers argued that a more just political order required that knowledge, previously structured by the epistemology of singularity upon which sovereignty had built its authority, be reorganized around the interpretive principles and practices of affiliation and collectivity. Collective Understanding contends that late Stuart and eighteenth-century literature played a central role in marginalizing the non-elite methods of interpretation and knowledge production that had emerged in the 1640s. While pamphlets and other readily available texts ridiculed members of the commonalty, it was the longer narrative arcs of drama and fiction that were uniquely able to foreground the collaborative methods civil war dissidents and the Levellers in particular had used to advance their opposition to sovereignty's epistemological paradigm. Writers such as William Davenant, Aphra Behn, Edward Sexby, Algernon Sidney, and Daniel Defoe repeatedly exposed these dissident methods as a profound and potentially catastrophic challenge to the political privileges of the ancien régime as well as its ancestral monopoly on the production of new knowledge.

A majestic literary history, revealing the power and possibilities of silence found in literary works.Silence: A Literary History traces silences over twelve centuries of English literature, from the solitary states of exile on icy seas described in Anglo-Saxon poems to searches for silence in our own Age of Pings. This pioneering work of 'big' literary history encompasses exalted states of blissful union with the divine and with the natural world, the deep hushes of intimacy, spell-binding silent scenes on stage, encrypted expressions of same-sex love, the great literary epics of inarticulable grief, the game-changing idea of silence within the mind, the failure of words in the face of two World Wars, the hilarious awkwardness of some social silences, the echoing absence of lost voices, and silences as a powerful form of protest.Throughout, Kate McLoughlin illuminates the intellectual and cultural influences shaping our relationships with silence and explores the paradoxical ways in which authors create silences through words. Medieval lyricists express complex theological notions through simple lullabies shushing babies to sleep. Renaissance sonneteers protest their tongue-tiedness in dazzling displays of verbal ingenuity. Shakespeare creates silences that stage violent misogyny, calculating statecraft, the hurt of having to grow up and hard-won equanimity. Out of political favour at the Restoration, Milton dreams of a silent paradise. Wordsworth and Coleridge are dumbfounded by the sublimity of God's creation. Jane Austen deflates pomposities with perfectly-timed pauses. Tennyson composes a three-thousand-line poem about the death of his best friend leaving him lost for words. Virginia Woolf repeatedly writes a novel about the things that people don't say.In Silence: A Literary History, Kate McLoughlin explores such silences in all their richness and variety, illuminating the intellectual, cultural, political, and religious traditions that shape them. Across English literature silences emerge as powerful, moving, and sometimes very funny.

The Oxford English Literary History is the new century's definitive account of a rich and diverse literary heritage that stretches back for a millennium and more. Each of these thirteen groundbreaking volumes offers a leading scholar's considered assessment of the authors, works, cultural traditions, events, and ideas that shaped the literary voices of their age. The series will enlighten and inspire not only everyone studying, teaching, and researching in English Literature, but all serious readers. This book describes and seeks to explain the vast cultural, literary, social, and political transformations which characterized the period 1000-1350. Change can be perceived everywhere at this time. Theology saw the focus shift from God the Father to the suffering Christ, while religious experience became ever more highly charged with emotional affectivity and physical devotion. A new philosophy of interiority turned attention inward, to the exploration of self, and the practice of confession expressed that interior reality with unprecedented importance. The old understanding of penitence as a whole and unrepeatable event, a second baptism, was replaced by a new allowance for repeated repentance and penance, and the possibility of continued purgation of sins after death. The concept of love moved centre stage: in Christ's love as a new explanation for the Passion; in the love of God as the only means of governing the self; and in the appearance of narrative fiction, where heterosexual love was suddenly represented as the goal of secular life. In this mode of writing further emerged the figure of the individual, a unique protagonist bound in social and ethical relation with others; from this came a profound recalibration of moral agency, with reference not only to God but to society. More generally, the social and ethical status of secular lives was drastically elevated by the creation and celebration of courtly and chivalric ideals. In England the ideal of kingship was forged and reforged over these centuries, in intimate relation with native ideals of counsel and consent, bound by the law. In the aftermath of Magna Carta, and as parliament grew in reach and importance, a politics of the public sphere emerged, with a literature to match. These vast transformations have long been observed and documented in their separate fields. The Oxford English Literary History: Volume 1: 1000-1350: Conquest and Transformation offers an account of these changes by which they are all connected, and explicable in terms of one another.

The Oxford English Literary History is the new century's definitive account of a rich and diverse literary heritage that stretches back for a millennium and more. Each of these thirteen groundbreaking volumes offers a leading scholar's considered assessment of the authors, works, cultural traditions, events, and ideas that shaped the literary voices of their age. The series will enlighten and inspire not only everyone studying, teaching, and researching in English Literature, but all serious readers. This volume covers the period 1645-1714, and removes the traditional literary period labels and boundaries used in earlier studies to categorize the literary culture of late seventeenth-century England. It invites readers to explore the continuities and the literary innovations occurring during six turbulent decades, as English readers and writers lived through unprecedented events including a King tried and executed by Parliament and another exiled, the creation of the national entity 'Great Britain', and an expanding English awareness of the New World as well as encounters with the cultures of Asia and the subcontinent. The period saw the establishment of new concepts of authorship and it saw a dramatic increase of women working as professional, commercial writers. London theatres closed by law in 1642 reopened with new forms of entertainments from musical theatrical spectaculars to contemporary comedies of manners with celebrity actors and actresses. Emerging literary forms such as epistolary fictions and topical essays were circulated and promoted by new media including newspapers, periodical publications, and advertising and laws were changing governing censorship and taking the initial steps in the development of copyright. It was a period which produced some of the most profound and influential literary expressions of religious faith from John Milton's Paradise Lost and John Bunyan's Pilgrim's Progress, while simultaneously giving rise to a culture of libertinism and savage polemical satire, as well as fostering the new dispassionate discourses of experimental sciences and the conventions of popular romance.

This reader collects essays taken from the first five years of the American Literary History (published by OUP). The journals has produced an exciting body of work representing the full range of American literary critical practices at a time when no consensus in the field exists. This collection shows how the journal has helped to shape the way American literature is currently studied and gives access to readers of essays from the journal's early years.

This is a major study of the relation between poetry and politcs in sixteenth and seventeenth century English literature, focusing in particular on the works of Spenser, Shakespeare, Jonson, Milton, and Dryden.Howard Erskine-Hill argues that the major tradition of political allusion is not, as has often been argued, that of the political allegory of Dryden's Absalom and Architophel, and other overtly political poems, but rather a more shifting and less systematic practice, often involving equivocal or multiple reference. Drawing on the revisionist trend in recent historiography, and taking issue with recent New Historicist criticism, the book offers new and thought-provoking readings of familiar texts. For example, Shakespeare's Histories, far from endorsing a conservative Tudor myth, are shown to examine and reject divine-right kingship in favour of a political vision of what the succession crisis of the 1590s required. A forgotten political aspect of Hamlet is restored and an anti-Cromwellian strain is identified in Milton's Paradise Lost. Again and again, Professor Erskine-Hill is able to show how some of the most powerful works of the period, works which in the past have been read for their aesthetic achievement and generalized wisdom, in fact contain a political component crucial to our understanding of the poem.

Poetry of Opposition and Revolution is an important new study of the relation between poetry and politics in English literature from Dryden to Wordsworth. Building on his argument in Poetry and the Realm of Politics: Shakespeare to Dryden (also available from OUP), Howard Erskine-Hill reveals that the major tradition of political allusion is not, as has often been argued, that of the political allegory and overtly political poems, but rather a more shifting and less systematic practice, often involving equivocal or multiple reference. Drawing on the revisionist trend in recent historiography, the book offers new and thought-provoking readings of familiar texts. Dryden's Aeneid version and Pope's Rape of The Lock are shown to belong not just to contemporary convention, but to a more widespread and older style of envisioning high politics and the crises of government. The early books of The Prelude can be seen to show marked political features; reflections of the 1688 Revolution are traced in The Rape of the Lock; and a Jacobite emotion is identified in The Vanity of Human Wishes. Taking issue with recent New Historicist Romantic criticism, the concluding chapters argue that what have seemed to many to be traces of covert political displacement or erasure in Wordsworth are in fact marks of a continuing political preoccupation, which found new forms after the collapse of the Enlightenment programme into the Jacobin terror.

Ireland's footing within the United Kingdom in the period between Edmund Burke's last years and the generation of Yeats and Joyce, was unique and anomalous: in social terms this was evident in the prestige of the Protestant Ascendancy; and in literary terms in the values accorded to the notion of tradition. This study uncovers the bourgeois origins of Ascendancy ideology in the alarm of the 1790s, and traces its cultural significance by means of a series of detailed critiques of central texts and concepts.

Heralding a new era in literary studies, the Oxford English Literary History breaks the mould of traditional approaches to the canon by focusing on the contexts in which the authors wrote and how their work was shaped by the times in which they lived. Each volume offers a fresh, ground-breaking re-assessment of the authors, their works, and the events and ideas which shaped the literary voice of their age. Written by some of the leading scholars in the field, under the general-editorship of Jonathan Bate, the Oxford English Literary History is essential reading for everyone studying, teaching, and researching in English literature.Unlike most medieval literary histories, which end with the coming of the Tudors, this volume continues into the mid-sixteenth century, and registers the impact of Henry VIII's cultural revolution and the linking of Church and State after the break with Rome. Although potent traditions praise both 'Reformation' and 'Renaissance' as moments of liberation, this book argues the reverse. Simpson shows that the emergent centralized culture narrowed and simplified the literary possibilities that had been enjoyed by late medieval writers. The consequences for literature, and even for the varieties of English in which it was written, were dramatic.From roughly 1350, where the volume starts, a wide range of literary kinds flourished, in a wide range of dialects. Many of these texts can be described as a mixed commonwealth of styles and genres, such as Langland's Piers Plowman, Gower's Confessio Amantis, Chaucer's Canterbury Tales, the dramatic 'mystery' cycles, and Malory's Works. In the sixteenth century this stylistic variety gave way to a literary practice that prized coherence and unity above all. Some kinds of writing, especially romance, survived. Others, such as Langland's brand of ecclesiology, the 'Aristotelian' politics of Gower and Hoccleve, and the feminine visionary mode of Julian of Norwich, became untenable. Religious cycle drama outlived the 1530s but was suppressed within the next forty years. Sixteenth-century writing, by figures such as Wyatt, Surrey, and the dramatist John Bale, emerges in this book as the product of profoundly divided writers, torn between their commitment to the new order and their awareness of its painful, often destructive strictures.

The Oxford English Literary History is the new century's definitive account of a rich and diverse literary heritage that stretches back for a millennium and more.Each of these groundbreaking volumes offers a leading scholar's considered assessment of the authors, works, cultural traditions, events, and the ideas that shaped the literary voices of their age. The series will enlighten and inspire not only everyone studying, teaching, and researching in English Literature, but all serious readers.This exciting new volume provides a freshly inclusive account of literature in England in the period before, during, and after the First World War. Chris Baldick places the modernist achievements of Virginia Woolf, T. S. Eliot, and James Joyce within the rich context of non-modernist writings across all major genres, allowing 'high' literary art to be read against the background of 'low' entertainment. Looking well beyond the modernist vanguard, Baldick highlights the survival and renewal of realist traditions in these decades of post-Victorian disillusionment. Ranging widely across psychological novels, war poems, detective stories, satires, and children's books, The Modern Movement provides a unique survey of the literature of this turbulent time.

The Oxford English Literary History is the new century's definitive account of a rich and diverse literary heritage that stretches back for a millennium and more. Each of these thirteen groundbreaking volumes offers a leading scholar's considered assessment of the authors, works, cultural traditions, events, and ideas that shaped the literary voices of their age. The series will enlighten and inspire not only everyone studying, teaching, and researching in English Literature, but all serious readers.This volume covers the period 1645-1714, and removes the traditional literary period labels and boundaries used in earlier studies to categorize the literary culture of late seventeenth-century England. It invites readers to explore the continuities and the literary innovations occurring during six turbulent decades, as English readers and writers lived through unprecedented events including a King tried and executed by Parliament and another exiled, the creation of the national entity 'Great Britain', and an expanding English awareness of the New World as well as encounters with the cultures of Asia and the subcontinent. The period saw the establishment of new concepts of authorship and it saw a dramatic increase of women working as professional, commercial writers. London theatres closed by law in 1642 reopened with new forms of entertainments from musical theatrical spectaculars to contemporary comedies of manners with celebrity actors and actresses. Emerging literary forms such as epistolary fictions and topical essays were circulated and promoted by new media including newspapers, periodical publications, and advertising and laws were changing governing censorship and taking the initial steps in the development of copyright. It was a period which produced some of the most profound and influential literary expressions of religious faith from John Milton's Paradise Lost and John Bunyan's Pilgrim's Progress, while simultaneously giving rise to a culture of libertinism and savage polemical satire, as well as fostering the new dispassionate discourses of experimental sciences and the conventions of popular romance.

English Literature in the 1960s soon threw off its post-war weariness and the tepid influences of the previous decade. New voices, new visions, and new commitments profoundly reshaped writing during the 60s, and throughout the rest of the century. Drama thrived on its rapidly rebuilt foundations. New freedoms of style and form revitalised fiction. Poetry, too, gradually recovered the variety and inventiveness of earlier years.As well as comprehensively charting these changes in the literary field, Randall Stevenson persuasively pinpoints their origins in the historical, social, and intellectual pressures of the times. Literary developments are revealingly related to the wider evolution and profound changes in English experience in the late twentieth-century to shadows of war and loss of empire; declining influences of class; shifting relations between the genders; emergent minority and counter-cultures; and the broadening democratization of contemporary life in general.Analyses of the rise of literary theory, of publishing and the book trade, and of the pervasive influences of modernism and postmodernism contribute further to an impressively thorough, insightful description of writing in the later twentieth-century a literary period Stevenson shows to be far more imaginative and exciting than has yet been recognised. Lucid, accessible, and engaging, this volume of the Oxford English Literary History presents a unique illumination of its age - one we have lived through, but are only just beginning to understand. The first full account of its period, it will set the agenda for discussion of late twentieth-century literature for many years to come.

In the future, what will 'English Literary History' mean? A literary history of England, or one with much looser boundaries, defined only by a communality of language, not by location or history? In this, the latest volume in the Oxford English Literary History, Bruce King discusses the literature written by those who have chosen to make England their home since 1948. With decolonization following World War II, and the growth of large immigrant communities in England, came a wave of colonial, postcolonial, and immigrant writers whose entry onto the British cultural landscape forces us to consider what it is to be British, English, or national now that England is multiracial and part of a global economy.King addresses these new trends in English literature and the questions they raise in the first wide-ranging and comprehensive account of immigrant literature set in a social context. Ranging through Black and Asian British prose, poetry and drama, and writers including V. S. Naipaul, Salman Rushdie, Hanif Kureishi, and Zadie Smith, King reveals the development of the literature from writing about immigration to becoming English. Now that the literature of England includes Sri Lankans, Egyptians, and British Nigerians, does this mean that we can no longer talk of the English nation as a cultural unit? King concludes persuasively that it does not. We have not seen the demise of national cultures, but rather, a new, accomplished, and socially significant body of writing in England is influenced by the interaction between foreign cultures and British traditions. This bold and challenging account of British culture will shape debate for future generations.

Heralding a new era in literary studies, the Oxford English Literary History breaks the mould of traditional approaches to the canon by focusing on the contexts in which the authors wrote and how their work was shaped by the times in which they lived. Each volume offers a fresh, ground-breaking re-assessment of the authors, their works, and the events and ideas which shaped the literary voice of their age. Written by some of the leading scholars in the field, under the general-editorship of Jonathan Bate, the Oxford English Literary History is essential reading for everyone studying, teaching, and researching in English literature.This volume covers the flowering of Victorian literature, from the decade when Tennyson started writing In Memoriam and Darwin embarked on the Beagle to the publication of Hardy's first great novels and the death of George Eliot. The Victorian era produced a literature of diversity and experimentation, engaged with powerful controversies and heartfelt arguments that lie at the centre of the formation of the modern world. It has often been misrepresented, either as an age of dull and rigid certainty or one of anxious and depressive morbidity, but what distinguishes the writing of the period - from its origins in the 1830s to its crisis point around 1880 - is its power of serious inquiry. It poses questions about the relation between society and the individual, the rival claims of market and morality, the form and function of democracy, and, above all, the existence or non-existence of God and the purposes of human life. Such concerns make this a time in which literature has a new urgency and vitality, and lies close to the heart of a culminating crisis of the Western conscience.less tied to the canonical authors and much more interested in placing both canonical and non-canonical writings in their historical context. These are books that every serious student and scholar of the period will need on their shelves.

Sentimentalism is usually studied through US-British relations after the American Revolution or in connection to national reforms like the abolitionist movement. Transamerican Sentimentalism and Nineteenth-Century US Literary History instead argues that African American, Native American, Latinx, and Anglo American women writers also used sentimentalism to construct narratives that reframed or countered the violence dominating the nineteenth-century Americas, including the Haitian Revolution, Indian Removal, the US-Mexican War, and Cuba's independence wars.By tracking the transformation of sentimentalism as the US reacted to, enacted, and intervened in conflict Transamerican Sentimentalism and Nineteenth-Century US Literary History demonstrates how marginalized writers negotiated hemispheric encounters amidst the gendered, racialized, and cultural violence of the nineteenth-century Americas. It remaps sentiment's familiar transatlantic and national scholarly frameworks through authors such as Leonora Sansay and Mary Peabody Mann, and considers how authors including John Rollin Ridge, John S. and Harriet Jacobs, María Amparo Ruiz de Burton, Victor Séjour, and Martin R. Delany adapted the mode. Transamerican sentimentalism cannot unseat the violence of the nineteenth-century Americas, but it does produce other potential outcomes-including new paradigms for understanding the coquette, a locally successful informal diplomacy, and motivations for violent slave revolt. Such transformations mark not sentiment's failures or distortions, but its adaptive attempts to survive and thrive.

Early Modern Women's Writing and the Future of Literary History demonstrates that a full accounting of early modern women's literary and creative activities is necessary to the future of literary studies writ large. Despite benefiting from a rich body of scholarship and diverse critical practices, early modern women's writing is still treated as an optional or secondary component of Renaissance literary studies as a whole. In this book, Dodds and Dowd offer a state-of-the-field assessment of the critical and theoretical debates that have resulted in this state of affairs in order to advance specific visions for the future. Dodds and Dowd examine how perennial questions about authorship, canon, and literary value have historically influenced scholarship on early modern women's writing and its place within literary studies. Early modern women's writing has been perceived as belated, out of sync with dominant critical trends. Dodds and Dowd show the belatedness of early modern women's writing to be a "happy accident" that positions women's writing as a resource for the renewal of literary history. In both the classroom and in scholarship, early modern women's writing shows the way forward for the field, whether in the revitalization of formalist approaches to literature through an alliance with feminism or in the integration of newer critical methodologies such as premodern critical race studies. This book demonstrates that a feminist literary history that places women's writing at its center is essential to the future of English Renaissance literary studies. There is, in other words, no history of English Renaissance literature without women writers.

The Oxford English Literary History is the new century's definitive account of a rich and diverse literary heritage that stretches back for a millennium and more. Each of these thirteen groundbreaking volumes offers a leading scholar's considered assessment of the authors, works, cultural traditions, events, and ideas that shaped the literary voices of their age. The series will enlighten and inspire not only everyone studying, teaching, and researching in English Literature, but all serious readers. This volume surveys the rich English literary tradition, 1603-1660, in the context of the eventful decades between the accession of James I and the restoration of Charles II. The first Part describes the 'social rules of writing.' Who could become a writer in the early seventeenth century? How could a literary career be pursued? How was literary work disseminated? And how did those practices change between 1603 and 1660? The second Part discusses the period's most innovative and important literary genres including satiric city comedy, country house poetry, chorography, masque, tragedy, tragicomedy, religious poetry, epic, the poetry of love and friendship, and a variety of prose.

Heralding a new era in literary studies, the Oxford English Literary History breaks the mould of traditional approaches to the canon by focusing on the contexts in which the authors wrote and how their work was shaped by the times in which they lived. Each volume offers a fresh, ground-breaking re-assessment of the authors, their works, and the events and ideas which shaped the literary voice of their age. Written by some of the leading scholars in the field, under the general-editorship of Jonathan Bate, the Oxford English Literary History is essential reading for everyone studying, teaching, and researching in English literature.Unlike most medieval literary histories, which end with the coming of the Tudors, this volume continues into the mid-sixteenth century, and registers the impact of Henry VIII's cultural revolution and the linking of Church and State after the break with Rome. Although potent traditions praise both 'Reformation' and 'Renaissance' as moments of liberation, this book argues the reverse. Simpson shows that the emergent centralized culture narrowed and simplified the literary possibilities that had been enjoyed by late medieval writers. The consequences for literature, and even for the varieties of English in which it was written, were dramatic.From roughly 1350, where the volume starts, a wide range of literary kinds flourished, in a wide range of dialects. Many of these texts can be described as a mixed commonwealth of styles and genres, such as Langland's Piers Plowman, Gower's Confessio Amantis, Chaucer's Canterbury Tales, the dramatic 'mystery' cycles, and Malory's Works. In the sixteenth century this stylistic variety gave way to a literary practice that prized coherence and unity above all. Some kinds of writing, especially romance, survived. Others, such as Langland's brand of ecclesiology, the 'Aristotelian' politics of Gower and Hoccleve, and the feminine visionary mode of Julian of Norwich, became untenable. Religious cycle drama outlived the 1530s but was suppressed within the next forty years. Sixteenth-century writing, by figures such as Wyatt, Surrey, and the dramatist John Bale, emerges in this book as the product of profoundly divided writers, torn between their commitment to the new order and their awareness of its painful, often destructive strictures.

Inaugurating a major new series, successor to the Oxford History of English Literature but excitingly new in its emphasis on 'literary history', this volume covers the flowering of Victorian literature, from the decade when Tennyson started writing In Memoriam and Darwin embarked on the Beagle to the publication of Hardy's first great novels and the death of George Eliot.The Victorian era produced a literature of diversity and experimentation, engaged with powerful controversies and heartfelt arguments that lie at the centre of the formation of the modern world. It has often been misrepresented, either as an age of dull and rigid certainty or one of anxious and depressive morbidity, but what distinguishes the writing of the period - from its origins in the 1830s to its crisis point around 1880 - is its power of serious inquiry. It poses questions about the relation between society and the individual, the rival claims of market and morality, the form and function of democracy, and, above all, the existence or non-existence of God and the purposes of human life. Such concerns make this a time in which literature has a new urgency and vitality, and lies close to the heart of a culminating crisis of the Western conscience.The series will enlighten and inspire not only everyone studying, teaching, and researching in English Literature, but all keen readers of English fiction.

This exciting new volume provides a freshly inclusive account of literature in England in the period before, during, and after the First World War. Chris Baldick places the modernist achievements of Virginia Woolf, T. S. Eliot, and James Joyce within the rich context of non-modernist writings across all major genres, allowing 'high' literary art to be read against the background of 'low' entertainment. Looking well beyond the modernist vanguard, Baldick highlights the survival and renewal of realist traditions in these decades of post-Victorian disillusionment. Ranging widely across psychological novels, war poems, detective stories, satires, and children's books, The Modern Movement provides a unique survey of the literature of this turbulent time.

English Literature in the 1960s soon threw off its post-war weariness and the tepid influences of the previous decade. New voices, new visions, and new commitments profoundly reshaped writing during the sixties, and throughout the rest of the century. Drama thrived on its rapidly rebuilt foundations. New freedoms of style and form revitalised fiction. Poetry, too, gradually recovered the variety and inventiveness of earlier years.As well as comprehensively charting these changes in the literary field, Randall Stevenson persuasively pinpoints their origins in the historical, social, and intellectual pressures of the times. Literary developments are revealingly related to the wider evolution and profound changes in English experience in the late twentieth century - to shadows of war and loss of empire; declining influences of class; shifting relations between the genders; emergent minority and counter-cultures; and the broadening democratization of contemporary life in general.Analyses of the rise of literary theory, of publishing and the book trade, and of the pervasive influences of modernism and postmodernism contribute further to an impressively thorough, insightful description of writing in the later twentieth century - a literary period Stevenson shows to be far more imaginative and exciting than has yet been recognized. Lucid, accessible, and engaging, this volume of the Oxford English Literary History presents a unique illumination of its age - one we have lived through, but are only just beginning to understand. The first full account of its period, it will set the agenda for discussion of late twentieth-century literature for many years to come.

In the future, what will 'English Literary History' mean? A literary history of England, or one with much looser boundaries, defined only by a communality of language, not by location or history? In this, the last volume in the Oxford English Literary History, Bruce King discusses the literature written by those who have chosen to make England their home since 1948. With decolonization following World War II, and the growth of large immigrant communities in England, came a wave of colonial, postcolonial, and immigrant writers whose entry onto the British cultural landscape forces us to consider what it is to be British, English, or national now that England is multiracial and part of a global economy.King addresses these new trends in English literature and the questions they raise in the first wide-ranging and comprehensive account of immigrant literature set in a social context. Ranging through Black and Asian British prose, poetry, and drama, and writers including V. S. Naipaul, Salman Rushdie, Hanif Kureishi, and Zadie Smith, King reveals the development of the literature from writing about immigration to becoming English. Now that the literature of England includes Sri Lankans, Egyptians, and British Nigerians, does this mean that we can no longer talk of the English nation as a cultural unit? King concludes persuasively that it does not. We have not seem the demise of national cultures; rather, a new, accomplished, and socially significant body of writing in England is influenced by the interaction between foreign cultures and British traditions. This bold and challenging account of British culture will shape debate for future generations.

This book represents the longest single-volume work on modern Welsh literature ever published, and proceeds from two broad perspectives. First, avoiding the traditional intrinsic and extrinsic approaches to literary history as the story of literary forms, authors, other literatures, or events, it places readers, where possible, at its centre. The definition of readers adopted here is broad: fictional and non-fictional, derived from letters, reviews, and criticism, as well as audiences addressed in prefaces, those mediated through authors' consciousness, or implied, assumed, postulated, created, idealized, chided, encouraged, and reviled, and treated as experts or pupils, arbiters, or dupes. Welsh literature is approached not as the sequential product of authors writing under particular circumstances but as material interpreted and reinterpreted, discovered, and rediscovered, by reading communities across time. Second, it seeks to interpret Welsh literature as shaped in turn by a series of concerns and preconceptions that have governed production and reception through most of the period covered in this book. These include, for instance, the fact that Welsh literature has been read as a crisis of cultural communicability between writers and readers; that writers in a largely amateur literary culture have been regarded as benefactors; that there is a lack of material to read; that, in a bilingual milieu, there is an inescapable relationship between Welsh and English literature; that a language with widely differing spoken and written registers is preoccupied with notions of correctness and appropriateness.

In a lecture entitled The First Forty Years: Some Notes on Anglo-Welsh Literature, published in 1957, the novelist and critic Gwyn Jones stated that Welsh writing in English 'began with Caradoc Evans in 1915'. His claim was widely accepted and proved influential in the development of Welsh writing in English as an academic subject. The primary aim of this volume is to refute that erroneous misconception, as its sub-title The First Four Hundred Years indicates. From 1536, the date of that Act which bound Wales to England, an abundance of Welsh authors chose to write in English. Some did so because their education had been entirely in English and they were not fully literate in Welsh. Others chose English with deliberate political intent, aiming to alert anglophone audiences to the social situation in Wales and persuade them of the value of the Welsh language and its literature. Their work constitutes a site of prolonged political tension, in which the pros and cons of the continuing existence of Wales are argued intensively. How far is it possible to reconfigure a self-consciousness forged under the dominion of a non-indigenous culture? This is an issue of central concern to large tracts of the worlds population today; in Wales it has for centuries featured large in English-language — as well as Welsh- language — writing. The First Four Hundred Years is also informed by social class and gender issues as it rescues from oblivion the work of many forgotten male and female writers.

The Oxford English Literary History is the new century's definitive account of a rich and diverse literary heritage that stretches back for a millennium and more. Each of these thirteen groundbreaking volumes offers a leading scholar's considered assessment of the authors, works, cultural traditions, events, and ideas that shaped the literary voices of their age. The series will enlighten and inspire not only everyone studying, teaching, and researching in English Literature, but all serious readers.This book describes and seeks to explain the vast cultural, literary, social, and political transformations which characterized the period 1000-1350. Change can be perceived everywhere at this time. Theology saw the focus shift from God the Father to the suffering Christ, while religious experience became ever more highly charged with emotional affectivity and physical devotion. A new philosophy of interiority turned attention inward, to the exploration of self, and the practice of confession expressed that interior reality with unprecedented importance. The old understanding of penitence as a whole and unrepeatable event, a second baptism, was replaced by a new allowance for repeated repentance and penance, and the possibility of continued purgation of sins after death. The concept of love moved centre stage: in Christ's love as a new explanation for the Passion; in the love of God as the only means of governing the self; and in the appearance of narrative fiction, where heterosexual love was suddenly represented as the goal of secular life. In this mode of writing further emerged the figure of the individual, a unique protagonist bound in social and ethical relation with others; from this came a profound recalibration of moral agency, with reference not only to God but to society. More generally, the social and ethical status of secular lives was drastically elevated by the creation and celebration of courtly and chivalric ideals. In England the ideal of kingship was forged and reforged over these centuries, in intimate relation with native ideals of counsel and consent, bound by the law. In the aftermath of Magna Carta, and as parliament grew in reach and importance, a politics of the public sphere emerged, with a literature to match. These vast transformations have long been observed and documented in their separate fields. The Oxford English Literary History: Volume 1: 1000-1350: Conquest and Transformation offers an account of these changes by which they are all connected, and explicable in terms of one another.

There are several good histories of Greek literature of various shapes and sizes, but the purpose of this book is not simply to consider the literature of ancient Greece as an isolated subject, treating each of the literary modes - epic, lyric, drama, history, philosophy, and rhetoric - in terms of its own evolution. Instead, Robert Flaceliere provides a Greek history that deals with all the important works of Hellenic literature that are still of interest to contemporary readers; and he does this in chronological order with an accurate account of their historical background.Flaceliere follows the history of Greece down through the centuries as the writer records it. He describes the political atmosphere in the nation and the advances in the other arts that influenced literature. The author understands Sappho's rhapsodies; girlish love in the context of the acceptance of homosexuality in that era. He sympathizes with the unrequited passion of the penniless Archilochos. He appreciates Pindar's pacifist tendencies, Herodotus' upright insistence on truth, and Euripides' doubts about the existence of the gods. For the classical centuries, so rich in talent and genius, the author follows the successive generations systematically so as to distinguish the special features of each, what it owes to the preceding generation and how it paves the way for the next.Since this is a literary history, attention is mainly focused on the writers and their works, but by displaying these in their political, social, artistic and scientific setting, Flaceliere gives a better understanding of the production and significance of these wonderful achievements of the human spirit. Due to the wide range of material presented, "A Literary History of Greece" can be used as a reference book as well as for enjoyment reading.

This investigation of literary history writing between 1770 and 1820 identifies the mode's distinction from canon formation as central to its cultural vitality. Using secret history, memoir and the novel, amongst other sources, it invites a re-thinking of literary history's place in late eighteenth and early nineteenth-century print culture.