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Studying English Literature
New textbook designed to help new undergraduates adopt a degree-level approach to the study of English literature in their first or foundation year.
Still Life
In a hot Spanish kitchen a little boy's mouth waters as he daydreams about the citrus tang of freshly-squeezed juice; in the weak sunlight outside a Russian Orthodox church, splinters of wood dance like so many motes of dust; and in a camp in Germany three prisoners of war look upwards and marvel at the near-weightless liberty of the birds they see. These are some of the exquisite moments almost visual in their vibrancy that are captured in the pages of Still Life. In this rich and textured anthology, the mundane is transfi gured as poets attempt to answer or at least to establish the big questions of life. In being recalled and recorded in poetry, still lives are endowed both with vitality and with a particular kind of immortality, too. The Cheshire Prize for Literature was inaugurated in 2003 as the High Sheriff s Cheshire Prize for Literature. It is funded by Bank of America and administered by the University of Chester. The 2010 competition was for poetry and this anthology contains 58 of the short-listed entries, including those of the eventual winners. Details of the prize are available at www.chester.ac.uk/ literatureprize
Wordlife
In 2012 the High Sheriff's Prize for Literature was for a short story or poem suitable for seven- to fourteen-year-old readers. Wordlife includes the very best of the entries for the competition. Some are startling, some are very funny, some take you to quiet and comfortable places while others may make you very uncomfortable indeed. All these stories and poems remind us both that the real and imaginary lives of children are rich and complex and that literature helps children to make sense of their own lives, empathise with the lives of others and play with ideas which transform the ordinary into the fabulous. Discovering that well-chosen words have the power to take us into another life is what changes children who can read into enthusiastic readers who love books. Wordlife has something for every reader, adult or child: enjoy it.
Zoo
A penguin sits calmly in a classroom, a past-it actor confronts a spectre, and air raid sirens ring out over the Mersey. Elsewhere, a lonely child prays to a dead pop star, a social misfit learns something important, a misanthrope is reformed by an unlikely companion, and a boy imagines beauty where others see only ugliness. This is Zoo, where the quotidian and the sublime are juxtaposed and where we can imagine ourselves momentarily, at least living the lives of others. As spectators we progress from one cage to another; as readers of the anthology we go from one story to the next, visiting some more than once, and finding meanings and associations which are, ultimately, unique. The Cheshire Prize for Literature was inaugurated in 2003 as the High Sheriff s Cheshire Prize for Literature. It is funded by Bank of America and administered by the University of Chester. The 2009 competition was for Short Stories and this collection contains 23 of the short-listed entries, including those of the eventual winners.
The Boy-Man, Masculinity and Immaturity in the Long Nineteenth Century
This book explores the evolution of male writers marked by peculiar traits of childlike immaturity. The ‘Boy-Man’ emerged from the nexus of Rousseau’s counter-Enlightenment cultural primitivism, Sensibility’s ‘Man of Feeling’, the Chattertonian poet maudit, and the Romantic idealisation of childhood. The Romantic era saw the proliferation of boy-men, who congregated around such metropolitan institutions as The London Magazine. These included John Keats, Leigh Hunt, Charles Lamb, Hartley Coleridge, Thomas De Quincey and Thomas Hood. In the period of the French Revolution, terms of childishness were used against such writers as Wordsworth, Keats, Hunt and Lamb as a tool of political satire. Yet boy-men writers conversely used their amphibian child-adult literary personae to critique the masculinist ideologies of their era. However, the growing cultural and political conservatism of the nineteenth century, and the emergence of a canon of serious literature, inculcated the relegation of the boy-men from the republic of letters.
Translation Practices
This cutting-edge collection, born of a belief in the value of approaching ‘translation’ in a wide range of ways, contains essays of interest to students and scholars of translation, literary and textual studies. It provides insights into the relations between translation and comparative literature, contrastive linguistics, cultural studies, painting and other media. Subjects and authors discussed include: the translator as ‘go-between’; the textual editor as translator; Ghirri’s photography and Celati’s fiction; the European lending library; La Bible d’Amiens; the coining of Italian phraseological units; Michèle Roberts’s Impossible Saints; the impact of modern translations for stage on perceptions of ancient Greek drama; and the translation of slang, intensifiers, characterisation, desire, the self, and America in 1990s Italian fiction. The collection closes with David Platzer’s discussion of translating Dacia Maraini’s poetry into English and with his new translations of ‘Ho Sognato una Stazione’ (‘I Dreamed of a Station’) and ‘Le Tue Bugie’ (‘Your Lies’).
Great Escapes
'There are moments', reflects Rhoda, one of Virginia Woolf s characters in The Waves, 'when the walls of the mind grow thin; when nothing is unabsorbed, and I could fancy that we might blow so vast a bubble that the sun might set and rise in it and we might take the blue of midday and the black of midnight and be cast off and escape from here and now'. Poetry is like Rhoda's bubble. From nothing, the poet fashions an entire world of meaning and sensation. Poets and readers enter that imaginary, frangible world to escape the 'here and now', and, since we must always return to the 'here and now', a good poem must equip us better to deal with, or understand, it. Whether it s the music in which ...
The Edwardian Ford Madox Ford
The controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature. This series of International Ford Madox Ford Studies was founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme or issue; and relates aspects of Ford’s work, life, and contacts, to broader concerns of his time. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade’s End, which Anthony Burgess described as ‘the finest novel about the First World War’, Samuel Hynes has called ‘the greatest war novel ever written by an Englishma...
Ford Madox Ford and the City
The controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature. The book series, International Ford Madox Ford Studies, has been founded to reflect the recent resurgence of interest in Ford’s life and work. Each volume will normally be based upon a particular theme or issue. Each will relate aspects of Ford’s work, life, and contacts, to broader concerns of his time. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade’s End, which Anthony Burgess described as ‘the finest novel about the First World War’; and Samuel Hynes has called ‘t...
Textual Revisions
Textual Revisions is a collection of new essays which discusses adaptations for cinema and television of a variety of novels, plays and short stories. Works discussed include adaptations of novels by Austen, Stoker, Michael Cunningham, Fowles and Tolkien, plays by Shakespeare and Pinter, and a short story by Philip K. Dick. Contents: The Materialisation of the Austen World: Film Adaptations of Jane Austen's Novels, by Deborah Wynne; The Amazing Cinematograph: Cinema and Illusion in Francis Ford Coppola's Bram Stoker's Dracula, by Paul Foster; Modernist Writing, the Cinematic Image and Time, by Deniz Baker; From Image to Frame: The Filming of The French Lieutenant's Woman, by William Stephenson; The Rain It Raineth in Every Frame: A Defence of Trevor Nunn's Twelfth Night, by Graham Atkin; The Film of Harold Pinter's The Caretaker, by Ashley Chantler; Can You See?: Spielberg's Screen Adaptation of Philip K. Dick's The Minority Report, by Brian Baker; Refracted Light: Peter Jackson's The Lord of the Rings, by Chris Walsh
