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This anthology marks the 55th anniversary of the historic 1962 Makerere Conference of African Literature in Uganda bringing together post-independence African writers many of whom would go on to play major roles in defining Africa’s literary history.
One of them wrote; “we were amazed that fate had entrusted us with the task of interpreting a continent to the world.”
Those who gathered included the Nigerian Nobel Laureate Wole Soyinka, Chinua Achebe, Christopher Okigbo, JP Clark, Kofi Awoonor, Frances Ademola, Cameron Doudu, Lewis Nkosi, Dennis Brutus, Ezekiel Mphahlele, Bloke Modisane, the African American writer Langton Hughes et al. Fifty-five years on, many have joined the ancestors but there are a few survivors who attended the launch of this Anthology at SOAS in London on 28th October 2017.
The third edition of Introduction To English Literary Studies, previously published as Selves and Others, is a guide on how to approach, engage with, and write about literature. Structured into chapters that deal with reading and writing, poetry, narrative, and drama, the book enables students to become successful critical readers of English literature.
The book offers an integrated, progressive introduction to the study of literature in English, creative writing, and literary genres. Critical literacy exercises help students engage with literary concepts and develop their thinking skills. Margin glosses explain difficult terms, while information boxes provide additional contextual information or pose self-reflective questions.
Introduction To English Literary Studies is written for university and university of technology students taking first-year courses in literature and creative writing. It is ideal for both face-to-face and distance education courses.
The most significant nonfiction writings of Zoë Wicomb, one of South Africa’s leading authors and intellectuals, are collected here for the first time in a single volume.
This compilation features critical essays on the works of such prominent South African writers as Bessie Head, Nadine Gordimer, Njabulo Ndebele, and J.M. Coetzee, as well as writings on gender politics, race, identity, visual art, sexuality and a wide range of other cultural and political topics. Also included are a reflection on Nelson Mandela and a revealing interview with Wicomb.
In these essays, written between 1990 and 2013, Wicomb offers insight on her nation’s history, policies, and people. In a world in which nationalist rhetoric is on the rise and diversity and pluralism are the declared enemies of right-wing populist movements, her essays speak powerfully to a wide range of international issues.
Sol Plaatje’s Mhudi is one of South Africa’s most famous novels.
First published in 1930, it is the first full-length novel by a black South African writer, and is widely read and studied in South African schools, colleges and universities. It has been translated into a number of different languages. Written over 30 years before Chinua Achebe’s famous Things Fall Apart, Mhudi is a pioneering African novel too, anticipating many of the themes with which Achebe and other writers from the African continent were concerned.
Mhudi has had a complicated history. Critics have been divided in their views, and there was a delay of ten years between the time Plaatje wrote the book and when it was published. A century on from when it was written, the time is now right to both celebrate its composition and to assess its meanings and legacy.
In this book, a distinguished cast of contributors explore the circumstances in which Mhudi was both written and published, what the critics have made of it, why it remains so relevant today. Chapters look at the eponymous feminist heroine of the novel and what she symbolizes, the role of history and oral tradition, the contentious question of language, the linguistic and stylistic choices that Plaatje made. In keeping with Mhudi’s capacity to inspire, this book also includes a poem and short story, specially written in order to pay tribute to both the book and its author.
A younger generation of South Africans are developing important and innovative ways of understanding South Africa’s past, challenging narratives that have, over the last decades, been informed by notions of forgiveness and reconciliation. Carli Coetzee uses the image of history-rich blood to explore these approaches to intergenerational memory. In this book, she revisits older archives and analyses contemporary South African cultural and literary forms.
The emphasis on blood challenges the privileged status skin has had as an explanatory category in thinking about identity. Instead, Coetzee emphasises intergenerational transfer and continuity. She argues that a younger generation is contesting the terms through which to understand contemporary South Africa and interpreting the legacies of the past that remain under the visible layer of skin.
The chapters each concern blood: Mandela’s prison cell as laboratory for producing bloodless freedom, the kinship relations created and resisted in accounts of Eugene de Kock in prison, Ruth First’s concern with information leaks in her accounts of her time in prison, the first human-to-human heart transplant and its relation to racialised attempts to salvage white identity, the #Fallist moment, the Abantu Book Festival, and activist scholarship and creative art works that use blood as a trope for thinking about change and continuity.
Saul Steinberg's inimitable drawings, paintings, and assemblages enriched the New Yorker, gallery and museum shows, and his own books for more than half a century. Although the literary qualities of Steinberg's work have often been noted in passing, critics and art historians have yet to fathom the specific ways in which Steinberg meant drawing not merely to resemble writing but to be itself a type of literary writing. Jessica R. Feldman's Saul Steinberg's Literary Journeys, the first book-length critical study of Steinberg's art and its relation to literature, explores his complex literary roots, particularly his affinities with modernist aesthetics and iconography. The Steinberg who emerges is an artist of far greater depth than has been previously recognized. Feldman begins her study with a consideration of Steinberg as a reader and writer, including a survey of his personal library. She explores the practice of modernist parody as the strongest affinity between Steinberg and the two authors he repeatedly claimed as his ""teachers"" Vladimir Nabokov and James Joyce. Studying Steinberg's art in tandem with readings of selected works by Nabokov and Joyce, Feldman explores fascinating bonds between Steinberg and these writers, from their tastes for parody and popular culture to their status as mythmakers, emigres, and perpetual wanderers. Further, Feldman relates Steinberg's uniquely literary art to a host of other authors, including Rimbaud, Baudelaire, Flaubert, Gogol, Tolstoy, and Defoe. Generously illustrated with the artist's work and drawing on invaluable archival material from the Saul Steinberg Foundation, this innovative fusion of literary history and art history allows us to see anew Steinberg's art.
This intriguing anthology brings together a broad range of critical essays on girls' series fiction from established scholars such as Chamberlain, Johnson, and Romalov, along with emerging scholars Katrine Poe, Maureen Reed, and Deborah Siegel. Topics include: Anne of Green Gables, the Isabel Carleton series, early twentieth-century girls' automobile series, girls' scouting novels, 1910-1935, Cherry Ames in World War II, Nancy Drew, and Judy Bolton.
Sol Plaatje is celebrated as one of South Africa’s most accomplished political and literary figures. A pioneer in the history of the black press, editor of several newspapers, he was one of the founders of the African National Congress in 1912, led its campaign against the notorious Natives Land Act of 1913, and twice travelled overseas to represent the interests of his people. He wrote a number of books, including – in English – Native Life in South Africa (1916), a powerful denunciation of the Land Act and the policies that led to it, and a pioneering novel, Mhudi (1930). Years after his death his diary of the siege of Mafeking was retrieved and published, providing a unique view of one of the best known episodes of the South African War of 1899–1902. At the same time Plaatje was a proud Morolong, fascinated by his people’s history. He was dedicated to Setswana, and set out to preserve its traditions and oral forms so as to create a written literature. He translated a number of Shakespeare’s plays into Setswana, the first in any African language, collected proverbs and stories, and even worked on a new dictionary. He fought long battles with those who thought they knew better over the particular form its orthography should take. This book tells the story of Plaatje’s remarkable life, setting it in the context of the changes that overtook South Africa during his lifetime, and the huge obstacles he had to overcome. It draws upon extensive new research in archives in southern Africa, Europe and the US, as well as an expanding scholarship on Plaatje and his writings. This biography sheds new light not only on Plaatje’s struggles and achievements but upon his personal life and his relationships with his wife and family, friends and supporters. It pays special attention to his formative years, looking to his roots in chiefly societies, his education and upbringing on a German-run mission, and his exposure to the legal and political ideas of the nineteenth-century Cape Colony as key factors in inspiring and sustaining a life of more or less ceaseless endeavour.
When Edgar Allan Poe set down the tale of the accursed House of Usher in 1839, he also laid the foundations for a literacy tradition which Edgar has assumed a lasting role in American culture. The House of Usher and its Iiterary progeny have not lacked for tenants in the century and a half since; writers from Nathaniel Hawthorne to Stephen King have taken some rooms in the haunted houses of American Fiction.
Yet, while the haunted house motif looms archetypal in the October country of the American mind, Iiterary critics have rarely inquired what it means or why it has endured. These are the questions at the head of Dale Bailey's American Nightmares: The Haunted House Formula in American Popular Fiction.
Bailey believes that the popularity of the haunted house formula depends upon its versatility in exploring American themes. In this study he discribes the formula and explains its continued success through an investigation of a representative sample of American haunted house literature which is distinguished from the ghost story as practiced by Henry James, Edith Wharton, and others.
Bailey traces the haunted house tale from its origins in English gothic fiction to the paperback potboilers of the present, highlighting the unique significance of the house in the domestic, economic, and social ideologies of our nation. In the hands of the best gothic writers, Bailey subversive symbol of everything that has gone nightmarishly awry in the American dream.
Shahrokh Meskoob was one of Iran's leading intellectuals and a preeminent scholar of Persian literary traditions, language, and cultural identity. In The Ant's Gift, Meskoob applies his insight and considerable analytical skills to the Shahnameh, the national epic of Iran completed in 1010 by the poet Abul-Qasem Ferdowsi. Tracing Iran's history from its first mythical king to the fall of the Sasanian dynasty, the Shahnameh includes myths, romance, history, and political theory. Meskoob sheds new light on this seminal work of Persian culture, identifying the story as at once a historical and poetic work. While previous criticism of the Shahnameh has focused on its linguistic importance and its role in Iranian nationalism, Meskoob draws attention to the work's pre-Islamic cultural origins.
Beginning theory has been helping students navigate through the thickets of literary and cultural theory for over two decades. This new and expanded fourth edition continues to offer readers the best single-volume introduction to the field. The bewildering variety of approaches, theorists and technical language is lucidly and expertly unravelled. Unlike many books which assume certain positions about the critics and the theories they represent, Beginning theory allows readers to develop their own ideas once first principles and concepts have been grasped. The book has been updated for this edition and includes a new introduction, expanded chapters, and an overview of the subject ('Theory after "Theory"') which maps the arrival of new 'isms' since the second edition appeared in 2002 and the third edition in 2009. -- .
This book is a no-apologies introduction to Detective Fiction.
It's written in an aggressive, modern English well-suited to a
genre which has traditionally broken ground in terms of aggressive
writing, contemporary scenarios, and tough dialogue.
If you're looking for a fast, focussed and effective way to revise for your AS or A2 exams, Revision Express is the answer. Now fully updated for the new A-levels, Revision Express covers everything you need for success in your exams. Each chapter is broken down into two-page topic sessions, packed with information, top tips and unique features to help you carefully organise your revision and gain vital extra marks. All the information is presented in short, memorable chunks for quick and simple revision and you can check your understanding and progress as you proceed with checkpoint questions. Develop and practice your exam techniques with sample exam-style questions (and answers - luckily!) and get some inside information as A-level examiners reveal the secrets to getting top grades.
Now updated for the new A-levels, Revision Express is the fast and effective route to exam success.
York Notes Advanced offer a fresh and accessible approach to English Literature. This market-leading series has been completely updated to meet the needs of today's A-level and undergraduate students, introducing them to more sophisticated analysis, a range of critical perspectives and wider contexts.
Flannery O'Connor spent most of her life in Georgia. Most of O'Connor's fiction is also set in the state, in locales rich in symbolism and the ambience of southern rural and small-town life. Filled with contemporary and historical photos, this guide introduces O'Connor's readers to the places where the great writer lived and worked--places whose features and details sometimes found their way into her fiction.
The guide describes such places as O'Connor's childhood home in Savannah; the Governor's Mansion, Cline House, and Central State Hospital in Milledgeville; and the family farm, Andalusia. Numerous facts about O'Connor and the people closest to her are woven into the site descriptions, as are critical observations about her Catholicism, her acute sense of character and place, and her fierce sense of humor.
Features include: More than fifty full-color contemporary photographs and numerous black-and-white historical imagesAn overview and chronology of O'Connor's life and legacyMaps to sites in Savannah, Milledgeville, and the house and grounds at AndalusiaDiscussions of O'Connor's life and writingsListing of O'Connor's works and suggestions for further reading
All author royalties from sales of the guide will be donated to the Flannery O'Connor-Andalusia Foundation.
Sellin invites readers to explore the daunting and often unsung work of literary translators. With wry humor and an engaging conversational style, Sellin shares his insight on the art and science of translation, including the many nuanced solutions he's developed for some of the more sensitive problems that frustrate translators of formal poetry. The essays offer a balance of commentary on structural challenges as well as linguistic and aesthetic issues, giving readers practical and theoretical advice gained from a long career as a professor, poet, editor, and translator.
Easy to use in the classroom or as a tool for revision, Oxford Literature Companions provide student-friendly analysis of a range of popular A Level set texts. Each book offers a lively, engaging approach to the text, covering characterisation and role, genre, context, language, themes, structure, performance and critical views, whilst also providing a range of varied and in-depth activities to deepen understanding and encourage close work with the text. Each book also includes a comprehensive Skills and Practice section, which provides detailed advice on assessment and a bank of exam-style questions and annotated sample student answers. This guide covers The Duchess of Malfi by John Webster and is suitable for the most recent AS/A level specifications.
The body is a source of pleasure and of pain, at once hopelessly vulnerable and radiant with power. In her ambitious, brilliant sixth book, Olivia Laing charts an electrifying course through the long struggle for bodily freedom, using the life of the renegade psychoanalyst Wilhelm Reich to explore gay rights and sexual liberation, feminism, and the civil rights movement. Drawing on her own experiences in protest and alternative medicine, and traveling from Weimar Berlin to the prisons of Joseph McCarthy's America, Laing grapples with some of the most significant and complicated figures of the past century-among them Nina Simone, Christopher Isherwood, Andrea Dworkin, Sigmund Freud, Susan Sontag, and Malcolm X. Arriving at a moment in which basic bodily rights are once again imperiled, Everybody is an investigation into the forces arranged against freedom and a celebration of how ordinary human bodies can resist oppression and reshape the world.
Feng Menglong (1574-1646) was recognized as the most knowledgeable connoisseur of popular literature of his time. He is known today for compiling three famous collections of vernacular short stories, each containing forty stories, collectively known as Sanyan. Appropriation and Representation adapts concepts of ventriloquism and dialogism from Bakhtin and Holquist to explore Feng's methods of selecting source materials. Shuhui Yang develops a model of development in which Feng's approach to selecting and working with his source materials becomes clear. More broadly, Appropriation and Representation locates Feng Menglong's Sanyan in the cultural milieu of the late Ming, including the archaist movement in literature, literati marginality and anxieties, the subversive use of folk works, and the meiren xiangcao tradition-appropriating a female identity to express male frustration. Against this background, a rationale emerges for Feng's choice to elevate and promote the vernacular story while stepping back form an overt authorial role.
There is a palpable connection to the landscapes of Mis sissippi displayed in the work of the state's many lauded writers. This connection to the land runs deep--across onerous lines of class, gender, and race--and spans gen erations of authors birthed in the Magnolia State. It's dif ficult to read Faulkner, Welty, Wright, and Ward and not come away with the very particular sense of place that the state and the greater American South represent in their work. In A Place Like Mississippi, W. Ralph Eubanks takes readers on a visionary tour of the real and imagined landscapes that have inspired generations of authors. Eubanks is a native Mississippian and he knows its writ ers and its complicated history well. In A Place Like Mis sissippi, Eubanks reveals how a little state that rests alongside the banks of a great and mighty river has made so many significant contributions to American letters, carrying an outsized role in the national imagination. The answer lies in a landscape that pairs ordinariness with beauty, magic with madness, and mystery with magnificence.
Belonging Beyond Borders maps the evolution of cosmopolitanism in Spanish American narrative literature through a generational lens. Drawing on a new theoretical framework that blends intellectual studies and literary history with integrated approaches to Spanish American narrative, this book traces the evolution from aesthetic cosmopolitanism through anti-colonial nationalism to modern political cosmopolitanism. Cosmopolitanism in Latin America has historically been associated with colonialism. In the mid-twentieth-century, authors who presented cosmopolitan narratives were harshly criticized by their nationalist peers. However, with the intensification of cultural globalization Spanish American authors have redefined cosmopolitanism, rejecting a worldview that relies on the creation of an other for the definition of the self. Instead, this new generation has both embraced and challenged global citizenship, redefining concepts to address human rights, identity, migration, belonging, and more. Taking the work of Elena Poniatowka, Mario Vargas Llosa, and Jorge Volpi as examples, this book presents innovative scholarship across literary traditions. It shows how Spanish-American authors offer nuanced understandings of national and global affiliations, and identities and untangles the strings of cosmopolitan thought and activism from those of nationalist criticism.
By the late Meiji period Japanese were venturing abroad in great numbers, and some of those who traveled kept diaries and wrote formal travelogues. These travelogues reflected a changing view of the West and changing artistic sensibilities in the long-standing Japanese literary tradition of travel writing (kikoobungaku). This book shows that overseas Meiji-period travel writers struck out to create a dynamic new type of travel literature, one that had a solid foundation in traditional Japanese kikobungaku yet also displayed influence from the West. Musashino in Tuscany specifically examines the poetic imagery and allusion in these travelogues and reveals that when Japanese traveled to the West in the mid-nineteenth century, the images they wrote about tended to be associated not with places initially discovered by the Japanese traveler but with places that already existed in Western fame and lore. And unlike imagery from Japanese traveling in Japan, which was predominantly nature based, Japanese overseas travel imagery was often associated with the manmade world.
Although isolated and detailed analyses of individual texts and paintings form the basis of our scholarly engagement with literature and painting, the simultaneous consideration of text and image yields a richer appreciation of the multi-facetted work of writer and painter, Breyten Breytenbach. This book argues that writing and painting form two manifestations of one and the same creative force, and should be read as such. His imaginary world finds expression in the sister arts, linked in western culture since antiquity: Ut pictura poesis, poetry is like painting. And, by extension, painting is like poetry. Yet, internationally, the substantial body of academic analyses of Breyten Breytenbach’s oeuvre pays scant attention to his painting, limiting our knowledge. If the lines “the hospitals of Paris are crammed with pasty people/standing at the windows making threatening gestures/like the angels in the furnace” will be immediately recognised by any Breytenbach scholar, a major work like L’attrape-pigeon, painted in prison in spite of the formal prohibition on painting, is unknown and would be recognised as a work by Breytenbach by very few (and the story of how the painting got to be made in prison, also remains to be told). The Breytenbach scholar’s musee imaginaire, the museum of works of art that can be called up by the mind’s eye, is regrettably poor. It is my conviction that, in engaging with Breytenbach’s oeuvre, his poems, works of fiction or essays are not more important than his paintings. This would imply that, in spite of the presence of his poetry and prose in school and university syllabi, in spite of the numerous theses on university library bookshelves and in spite of the growing body of literary criticism, his oeuvre has been only partially read, precisely because his painterly oeuvre is not taken into account.
Voices from Louisiana provides thoughtful, timely profiles of some of the state's most highly regarded and popular contemporary authors. Readers interested in Louisiana's rich literary tradition will appreciate these evocative essays on writers whose works emanate from the cultures and landscapes of the Gulf South. Ann Brewster Dobie explores the works of eleven well-known authors and concludes with a look at several emerging talents. These writers work in a broad range of genres, from coming-of-age stories and historical narratives that recover the voices of silenced and oppressed peoples, to crime thrillers set in New Iberia and New Orleans, to poetic invocations of the natural world and narratives capturing the realities of working-class lives. Whether native to the state or transplants, these writers produce works that reflect the vibrant culture that defines the intricate literary landscape of the Pelican State. Dobie highlights the careers of Darrell Bourque, James Lee Burke, Ernest Gaines, Tim Gautreaux, Shirley Ann Grau, Greg Guirard, William Joyce, Julie Kane, Tom Piazza, Martha Serpas, and James Wilcox. Newcomers also profiled include Wiley Cash, Ashley Mace Havird, Anne L. Simon, Katy Simpson Smith, Ashley Weaver, Steve Weddle, and Ken Wheaton.
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