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Dani Napton

Counter-revolutionary or wary progressive? Critical apologist for the Stuart and Hanoverian dynasties? What are the political and cultural significances of place when Scott represents the instabilities generated by the Union? Scott's Novels and the Counter-Revolutionary Politics of Place analyses Scott’s sophisticated, counter-revolutionary interpretation of Britain's past and present in relation to those questions.

Exploring the diversity within Scott’s life and writings, as historian and political commentator, conservative committed to progress, Scotsman and Briton, lawyer and philosopher, this monograph focuses on how Scott portrays and analyses the evolution of the state through notions of place and landscape. It especially considers Scott’s response to revolution and rebellion, and his geopolitical perspective on the transition from Stuart to Hanoverian sovereignty.


Edited by Jeanne Garane

The essays collected in this volume explore the ways in which hybridity functions in a wide variety of visual, musical, and written texts from France, the Francophone world, and beyond. Hybridity is defined here as an unexpected interaction or combination between two or more forms--whether literary, filmic, ethnic, generic or gendered. The volume covers works ranging from the 16 th to the 20 th centuries, from Pierre de Ronsard to Woody Allen. The essays demonstrate that rather than being a uniquely postmodern or postcolonial phenomenon, hybridity may be integral to creativity itself, leading to the conclusion that hybrid forms tend to challenge authority by proposing alternatives to existing power structures or questioning conventional ways of thinking and viewing the world.


Edited by Rossitsa Terzieva-Artemis

For the centenary of Ford Madox Ford’s The Good Soldier (1915), this volume originally re-examines some well-known issues surrounding the text and its “mad about writing” author: the Conrad-Ford friendship and literary collaboration; Modernist agenda(s) and Impressionist techniques; genre innovations and philosophical questions. The dialogue between established and young Ford scholars produces a challenging kaleidoscope of insights into the work of this controversial English writer and his perennial novel.

Contributors are:
Asunción López-Varela Azcárate, Marc Ouellette, Lucie Boukalova, Allan Pero, Dean Bowers, Aimee L. Pozorski, Chris Forster, J. Fitzpatrick Smith, Edward Lobb, Timothy Sutton, Gabrielle Moyer, Joseph Wiesenfarth.


Alistair Charles Rolls, Clara Dominque Sitbon and Marie-Laure Jacqueline Vuaille-Barcan

In Origins and Legacies of Marcel Duhamel’s Série Noire Alistair Rolls, Clara Sitbon and Marie-Laure Vuaille-Barcan counter the myths and received wisdom that are typically associated with this iconic French crime fiction series, namely: that it was born in Paris on a tide of postwar euphoria; that it initially consisted of translations of American hard-boiled classics by the likes of Dashiell Hammett and Raymond Chandler; and that the translations were rushed and rather approximate. Instead, an alternative vision of Duhamel’s translation practice is proposed, one based on a French tradition of auto-, or “original”, translation of “ostensibly” American crime fiction, and one that appropriates the source text in order to create an allegory of the target culture.


Douglas Robinson

Aleksis Kivi (1834-1872) is Finland’s greatest writer. His great 1870 novel The Brothers Seven has been translated 59 times into 34 languages. Is he world literature, or not? In Aleksis Kivi and/as World Literature Douglas Robinson uses this question as a wedge for exploring the nature and nurture of world literature, and the contributions made by translators to it.

Drawing on Deleuze and Guattari’s notion of major and minor literature, Robinson argues that translators have mainly “majoritized” Kivi—translated him respectfully—and so created images of literary tourism that ill suit recognition as world literature. Far better, he insists, is the impulse to minoritize—to find and celebrate the minor writer in Kivi, who “ sends the major language racing.”

The Completion of a Poem

Letters to Young Poets

Mu Yang

The Completion of a Poem is the first book-length translation of Yang Mu’s poetics. In eighteen letters addressed to young poets, Yang Mu discusses essential questions regarding the definition of poetry, a poet’s growth, the importance of nature and friendship, the choice of subject, the process of creation and publication, and relationships between poet and society, identity and history, and poetry and truth.

Using a comparative approach, Yang Mu draws on literary resources from Chinese and Western traditions to expound his views, and this helps to nurture in young poets a vision of world poetry that connects different but equally inspiring expressions of humanity. In style and in theme, this book is a companion piece to Rilke’s Letters to a Young Poet and Goethe’s Dichtung und Wahrheit.

"Yang Mu is not only one of the greatest living poets and essayists in the Chinese language, he is also an erudite scholar, deeply versed in both Chinese and Western poetic traditions from antiquity to our modern age. In his eighteen letters to young poets, which serve as his Ars Poetica, he emphasizes that the creation of true poetry requires that insight and knowledge are paired with personal integrity and high moral standing. Yang Mu’s letters are often illuminated by exquisite landscape essays of great lyrical intensity which show his facility to allow manifestations of the outer world to reveal inner states of mind.

This excellent translation by Lisa Wong deserves to be read by all who consider that poetry matters."
Göran Malmqvist, Swedish Academy

Odysseys / Odyssées

Travel Narratives in French / Récits de voyage en français


Edited by Jeanne M. Garane

The volume explores diverse aspects of French-language travel writing. Arranged chronologically by topic, the essays cover the medieval Anglo-Norman story of the Irish traveller Saint Brendan's fantastical visit to hell; the sixteenth-century French expeditions to Florida; the seventeenth-century Dernières découvertes dans l’Amérique septentrionale de M. de la Sale mises au jour par le chevalier Tonti, 1697; the eighteenth-century Histoire générale des voyages by l’abbé Prévost; the eighteenth-century Impressions d' Orient et d'Arabie written in French by the Polish count Waclaw Seweryn Rzewuski; nineteenth-century tales of travel in Algeria by the orientalist painter Eugène Fromentin; early twentieth-century travel narratives by the modernist Blaise Cendrars; the 1936 visit to the Soviet Union by Louis-Ferdinand Céline and André Gide, odyssean thematics in the late twentieth-century work of Nobel prize winner Patrick Modiano; the thematics of nomadism in the twentieth-century writing of Albert Memmi, and the thematics of travel in works by Bernard Ollivier, Rachid Bouchareb, Fatou Diome, Christine Montalbetti, Marie Ndiaye and Emmanuel Lepage.


Edited by Alexandra Becquet and Claire Davison-Pégon

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, issue, or work; and relates aspects of Ford’s writing, 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 Englishman’, and which was adapted by Tom Stoppard for the acclaimed 2012 BBC/HBO television series, starring Benedict Cumberbatch and Rebecca Hall.
The twelve essays in this volume, Ford Madox Ford’s Cosmopolis, focus directly on the internationalism so important to Ford, and bring out three main ideas. First, his lifelong commitment to an international vision of literature and culture. Second, ‘Cosmopolis’ also refers to Ford’s experiences of the particular cosmopolitan cities he lived in: London, Paris, New York. Third, the idea that his lifelong experience of Paris in particular informed and shaped his writing. Ford’s Cosmopolis is thus not only an ideal city or state open to such cosmopolitan exchange. It is also a mode of writing which invents forms and styles to render the experience of such hybridity, diversity, fluidity, and tolerance.

Contributors are: Alexandra Becquet, Helen Chambers, Martina Ciceri, Laurence Davies, Claire Davison, Annalisa Federici, Georges Létissier, Caroline Patey, Andrea Rummel, Max Saunders, Rob Spence, Martin Stannard, George Wickes, Joseph Wiesenfarth.


Edited by Scott Lyall

Community in Modern Scottish Literature is the first book to examine representations and theories of community in Scottish writing of the twentieth and twenty-first centuries across a broad range of authors and from various conceptual perspectives. The leading scholars in the field examine work in the novel, poetry, and drama, by key Scottish authors such as MacDiarmid, Kelman, and Galloway, as well as less well known writers. This includes postmodern and postcolonial readings, analysis of writing by gay and Gaelic authors, alongside theorists of community such as Nancy, Bauman, Delanty, Cohen, Blanchot, and Anderson. This book will unsettle and yet broaden traditional conceptions of community in Scotland and Scottish literature, suggesting a more plural idea of what community might be.


Edited by Werner Wolf and Walter Bernhart

This volume focusses on the rarely discussed reverse side of traditional, ‘given’ objects of studies, namely absence rather than presence (of text) and silence rather than sound. It does so from the bifocal and interdisciplinary perspective which is a hallmark of the book series Word and Music Studies.
The twelve contributors to the main subject of this volume approach it from various systematic and historical angles and cover, among others, questions such as to what extent absence can become significant in the first place or iconic (silent) functions of musical scores, as well as discussions of fields ranging from baroque opera to John Cage’s 4’33’’. The volume is complemented by two contributions dedicated to further surveying the vast field of word and music studies.
The essays collected here were originally presented at the Ninth International Conference on Word and Music Studies held at London University in August 2013 and organised by the International Association for Word and Music Studies. They are of relevance to scholars and students of literature, music and intermediality studies as well as to readers generally interested in phenomena of absence and silence.