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Telling Complexions
In Telling Complexions Mary Ann O'Farrell explores the frequent use of "the blush" in Victorian novels as a sign of characters' inner emotions and desires. Through lively and textured readings of works by such writers as Jane Austen, Elizabeth Gaskell, Charles Dickens, and Henry James, O'Farrell illuminates literature's relation to the body and the body's place in culture. In the process, she plots a trajectory for the nineteenth-century novel's shift from the practices of manners to the mode of self-consciousness. Although the blush was used to tell the truth of character and body, O'Farrell shows how it is actually undermined as a stable indicator of character in novels such as Pride and P...
Virtual Gender
Explores notions of gender fantasy across time and culture, expanding the concept of virtuality to include people and events in history
Everybody's Jane
Explores the importance of Jane Austen and her writings to amateur readers today.
Theatre Closure and the Paradoxical Rise of English Renaissance Drama in the Civil Wars
Heidi Craig demonstrates how dramatic and theatrical activity paradoxically thrived during the English theatre closures, 1642-1660.
Having a Good Cry
Robyn R. Warhol's goal is to investigate the effects of readers' emotional responses to formulaic fiction of the nineteenth and twentieth centuries on gendered subjectivity. She argues that modern literary and cultural studies have ignored nonsexual affectivity in their inquiries. The book elaborates on Warhol's theory of affect and then focuses on sentimental stories, marriage plots, serialized novels, and soap operas as distinct genres producing specific feelings among fans. Popular narrative forms use formulas to bring up familiar patterns of feelings in the audiences who love them. This book looks at the patterns of feelings that some nineteenth- and twentieth-century popular genres evok...
Identity and Everyday Life
A critical examination of core issues in social and cultural theory.
Desirable Belief
Desirable Belief: A Theology of Eros is a work of critical and constructive theology informed by the phenomenon of erotic love. Within the Christian tradition, passion has long been associated with sinful lust, incurring shaming and accusations of narcissism. Contemporary theologies of eros, on the other hand, extol sexual desire as God-given, even sacred. This book eschews these two extremes through an examination of the complexities of love and desire, as narrated in biblical texts, allegorized by church fathers, manifested in the lives of mystics, analyzed in psychodynamic theory, and depicted in poetry, literature, and Christian art. The volume pairs writers on love as different as Augustine and Jane Austen or Angela of Foligno and Simone de Beauvoir. Desirable Belief argues that eros is human and, as such, informs the Chalcedonian claim of Christ as fully God and fully human. A christological perspective that takes eros into account, in turn, affects the doctrine of the bodily ascension of Christ, the nature of resurrected bodies in heaven, and whether trinitarian impassibility is still a coherent concept.
The Comfort of Strangers
This text argues for a new understanding of the relation between nineteenth-century realist literary form and the socially dense environments of modernity.
Body Parts
In many forms of discourse, specific parts of the human anatomy may signify the whole body/person. In this volume, scholars from a variety of historical and cultural studies disciplines examine scientific, medical, popular, and literary texts, paying special attention to the different strategies employed in order to establish authority over the body through the management of a single part. By considering body parts that are usually ignored by scholars, these essays render the idea of a single, coherent body untenable by demonstrating that the body is not a transhistorical entity, but rather, deeply fragmented and fundamentally situated in a number of different contexts.
Imagining Otherwise
How Victorian authors engaged the imaginations of their readers and elevated the novel to new heights As novel publication exploded in nineteenth-century Britain, writers such as Jane Austen, Charles Dickens, and George Eliot learned from experience—sometimes grudgingly—that readers tend to make their own imaginative contributions to fictional worlds. Imagining Otherwise shows how Victorian writers acknowledged, grappled with, and ultimately enlisted the prerogative of readers to conjure alternatives and add depth to the words on the page. Debra Gettelman provides incisive new readings of novels such as Sense and Sensibility, Little Dorrit, and Middlemarch, exploring how novelists known ...
