In this innovative study, Bernadette Andrea focuses on the contributions of women and their writings in the early modern cultural encounters between England and the Islamic world. She examines previously neglected material, such as the diplomatic correspondence between Queen Elizabeth I and the Ottoman Queen Mother Safiye at the end of the sixteenth century, and resituates canonical accounts, including Lady Mary Wortley Montagu's travelogue of the Ottoman empire at the beginning of the eighteenth century. Her study advances our understanding of how women negotiated conflicting discourses of gender, orientalism, and imperialism at a time when the Ottoman empire was hugely powerful and England was still a marginal nation with limited global influence. This book is a significant contribution to critical and theoretical debates in literary and cultural, postcolonial, women's, and Middle Eastern studies.

This wide-ranging collection of essays, written by leading specialists, furnishes previously unpublished evidence of France's role and importance in the early modern English literary and dramatic fields. Its chapter-length introduction offers an up-to-date critical presentation of the issues involved: representation, cultural identity, the construction of otherness, Frenchness, and the social and cultural dynamics of theater. The essays in the five sections of the book continue the debate with a series of in-depth studies touching on important critical themes such as intertextuality; old and new historicisms; language, semiotics, and nationhood; imagined geographies; and stereotypes and social satire. The book will appeal to students and specialists of Renaissance literature, to scholars working on the construction of national identity and will be required reading for anyone interested in cultural exchange or comparative literature. Jean-Christophe Mayer is a senior research fellow at the French National Center for Scientific Research.

Novels have been a respectable component of culture for so long that it is difficult for twentieth-century observers to grasp the unease produced by novel reading in the eighteenth century. William Warner shows how the earliest novels in Britain, published in small-format print media, provoked early instances of the modern anxiety about the effects of new media on consumers.Warner uncovers a buried and neglected history of the way in which the idea of the novel was shaped in response to a newly vigorous market in popular narratives. In order to rein in the sexy and egotistical novel of amorous intrigue, novelists and critics redefined the novel as morally respectable, largely masculine in authorship, national in character, realistic in its claims, and finally, literary. Warner considers early novelists in their role as entertainers and media workers, and shows how the short, erotic, plot-driven novels written by Behn, Manley, and Haywood came to be absorbed and overwritten by the popular novels of Defoe, Richardson, and Fielding. Considering these novels as entertainment as well as literature, Warner traces a different story one that redefines the terms within which the British novel is to be understood and replaces the literary history of the rise of the novel with a more inclusive cultural history."

In Evelyn Waugh and the Modernist Tradition, George McCartney argues that unlike traditional satirists, Evelyn Waugh was not primarily concerned with correcting morals and manners. Instead, he laid siege to the cultural and metaphysical assumptions of his time. McCartney demonstrates that the one constant in Waugh's work was his lively engagement with contemporary intellectual fashion. It was especially his response to modernism, the zeitgeist of his formative years, that gave his fiction its distinctive energy.

McCartney shows how at every turn Waugh's writing pays parodic tribute to modernist esthetics. Although he deplored many of the movement's philosophical premises, he nevertheless admired its methods, borrowing them freely whenever it suited his purposes. In effect, Waugh developed an alternate modernism. Whether it was his playful reworking of Bauhaus and Futurist theory, or his borrowings from film technique, he was determined to take his place in what he called "the advance-guard" despite his avowedly "antique" tastes. Part aesthete, part traditionalist, he appropriated the strategies of experimental art in order to defeat its metaphysical implications. McCartney provides evidence that this ambivalent regard for modernism reveals not only Waugh's interest in aesthetics and philosophy, but also his personal conflicts. For a man who prized rationality, he was remarkably, even notoriously impulsive. McCartney concludes that Waugh's satire sprang not only from his dismay with contemporary intellectual fashions but also from an inward struggle between his orthodox and wayward selves, a struggle that registered the cultural conflicts of his time with uncanny accuracy.

In McCartney's reading, Waugh's personal and intellectual ambivalence enabled him to become a prescient critic of our age. The result was a body of work that remains as vital today as when it was written.

George McCartney teaches at St. John's University. He has written on Waugh for The Columbia History of the British Novel and Evelyn Waugh: New Directions. He also writes for a variety of publications including National Review, The American Spectator, and the Weekly Standard. His monthly film column appears in Chronicles Magazine.

"Anecdotal, eccentric but wholly enchanting and wisea lovely book by a lovely man."-Bernard Crick, Independent

"Profound, funny, modest and necessary."-Philip Oakes, Times Literary Supplement

"An excellent writeressentially timeless."-John Gross, Sunday Telegraph

"The perfect elegiac postscriptnot only arresting but original."-Anthony Howard, Sunday Times

Part meditation, part commonplace book, First and Last Things is an attempt by a writer of great distinction and strong convictions to take stock of his beliefs and values. Here, Richard Hoggart considers the big questions without shortchanging readers with easy answers. He examines problems (as he sees them) of faith; the mysterious origins of conscience; the importance of family and friends; the value of literature; the nature of memory; and the need, in old age, to find some value in existence. To these issues, and many others, the author brings a lifetime of rich experience and a mind well stocked with the best that has been written by those who have gone before.

What emerges above all in this work is Richard Hoggart's love of, almost obsession with, quotations from great authors, especially, of course, Shakespeare. He muses on the business of capitalism and democracy, noting a reluctant conclusion that democracy is the least worst form of government, and that capitalism is its inevitable partner, but one which democratic societies should treat with "a very long spoon." He argues that market and consumer driven societies are inevitably led to relativism, head-counting, and populism. The result is a book that is introspective without being self-absorbed, that is thought-provoking but never preaching, that is, profound without being portentous. First and Last Things is a work that the young should read, if only to discover how much there is still to understand, and one that the old will treasure.

Richard Hoggart was educated at Leeds University. Later, as professor of modern English literature at Birmingham University, he founded the Centre for Contemporary Cultural Studies. He has authored or edited twenty-seven books, including Between Two Worlds: Politics, Anti-Politics, and the Unpolitical, The Uses of Literacy, and The Tyranny of Relativism, all available from Transaction.

Catastrophe and Imagination explores fiction in America and England from 1870 to 1950, measuring the impact of the twentieth century's wars on the literary imagination. McCormick holds that the novel has a unique relationship to society, and defines this in relation to the many catastrophes of his era - wars, revolutions, and other outrages on the social order. After an initial survey of society in the novels of Jane Austen, Dickens, and Thackeray, to name only a few, he analyzes what the novel is not, with reference to the work of Virginia Woolf, John Steinbeck, and D. H. Lawrence.

Some of the greatest English novels were written during the Victorian era, and many are still widely read and taught today. But many others written during that period have been neglected by scholars and modern readers alike. A number of these novels were written by women and were popular when published. Moreover, they reveal perspectives of 19th-century British culture not present in canonized works and therefore revise our understanding of Victorian life and attitudes. With the increasing interest in revising Victorian history and gender scholarship, especially through the rediscovery of lost texts written by women, this book is a timely and much needed study.

The expert contributors to this volume argue the value of novels by such Victorian women writers as Grace Aguilar, Catherine Crowe, Charlotte Elizabeth Tonna, Annie E. Holdsworth, Ella Hepworth Dixon, Flora Annie Steel, Anne Thackeray, Sarah Grand, Marie Corelli, and others. Most of the chapters address numerous works by a particular writer. Each focuses on different social issues as well, though most of them share an interest in gender politics. Topics discussed include a 19th-century Jewish novelist's navigation through Protestant spirituality, the relationship of noncanonical governess novels to class and gender issues, and forgotten works by women crime writers. Other chapters analyze how women writers impelled social reform and subverted patriarchally defined religious issues.

Although Tolkien's literary works have, over the past few decades, attracted a considerable and varied body of criticism, much of this material is inaccessible, unreflective, and repetitive. Most criticism has concentrated on his sources and biographical influences, but such studies generally do not look beyond his interest in medieval literature. Nonetheless, Tolkien's writings have links and resonances with the whole of English literature from Old Norse traditions to contemporary literary thought. This book corrects a striking imbalance in Tolkien scholarship by placing his works within a larger literary context.

The volume ranges over the entire history of English literature, including oral narrative tradition, Anglo-Saxon poetry, medieval romance, Renaissance poetics, 19th-century adventure stories, modern art, and contemporary fantasy. Each chapter is written by an expert contributor who demonstrates Tolkien's relation to an earlier literary movement and examines the literary resonances of his works from a variety of informed perspectives. By grounding Tolkien's writings within the larger canon of literature, the book argues that his works actually fall within the mainstream literary tradition.

In the struggle for democratic reform, and in its ideals of liberty, equality, and fraternity, the French Revolution represented a broad humanistic spirit that swept across Europe at the close of the 18th century. The Revolution fostered one of the largest and broadest debates in literary and cultural history, a war of ideas that encompassed philosophy, theories of history, the study of language, and the history of art. This debate is reflected in a large body of literature that extends well into the 19th century. The debate in England was particularly strong, and in 1789, the London Corresponding Society remarked that the French Revolution was the topic to which all thinking minds were drawn. During the 20th century, scholars have given much attention to the link between the Revolution and Romanticism.

Within this volume, expert contributors examine the centrality of the French Revolution to English culture in the 18th and 19th centuries. The book offers a sweeping exploration of the diverse effects of the Revolution in verbal and visual art, poetry and prose, history and fiction, politics and religion, and philosophy and language theory. Among the figures discussed are Edmund Burke, William Blake, William Wordsworth, and Thomas Carlyle. By analyzing a broad range of writers and artists who shaped and were shaped by the French Revolution, the volume dramatizes the scope and diversity of the debate, thus offering an interdisciplinary analysis of the debate as a whole and an emphasis on the extent to which all thinking minds were drawn to the topic.

Postmodernism, as a mode of the contemporary short story, has been clearly established and recognized by short story theorists. But postmodern theory, as pervasive as it has become among academics in the last half century, has scarcely been applied to the short story genre in particular. Many contemporary scholars, nonetheless, are currently making use of certain postmodern thematic approaches to help them determine meanings of particular short stories. T

Short story theory began with Edgar Allan Poe's review of "Twice-Told Tales," a collection of stories by his contemporary, Nathaniel Hawthorne. But theoretical discussions of the short story languished until modernism and the new criticism provided impetus for further development. Surprisingly, though, the next large critical movement, postmodernism, failed to address the short story as a genre. But while there is little postmodern theory concerning the short story, contemporary scholars have used certain postmodern critical approaches to help determine meaning. This book demonstrates the effect of postmodern theory on the study of the short story genre.

The expert contributors to this volume examine such topics as genre and form, the role of the reader, cultural and ethnic diversity, and feminist perspectives on the short story. In doing so, they apply postmodern theoretical approaches to international short stories, be they in the traditional mode, the modern mode, or the postmodern mode. The volume looks at fiction by Edith Wharton, Henry James, Katherine Mansfield, and other authors, and at Iranian short fiction, the postcolonial short story, the fantastic in short fiction, and other subjects.