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The electronic version of the European Joyce Studies series.
No other modernist writer in English has attracted more or broader international attention than James Joyce. Translations, adaptations, and imitations as well as works of criticism are being published in increasing numbers and frequency, and show a proliferating diversity of approaches and perspectives on the work, life, and influence of Joyce.
In view of the internationalism of Joyce studies, and the current dissemination of literary-critical pluralism, this peer-reviewed series hopes to offer a platform for specifically "European" perspectives on Joyce's works, their adaptations, annotation, and translation, studies in biography, the history of and current debates in Joyce criticism, Joyce's place in literary history, matters of influence and the transmission of ideas etc.
In calling this series "European" in the broadest sense, we aim at soliciting not only the submission of articles by European contributors, but more generally all essays and research focusing on issues of European concern such as language, nationality and culture, literary-historical movements, ideology, politics, and distribution, as well as literary-critical perspectives with European roots.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
The series published an average of one volume per year over the last 5 years.
No other modernist writer in English has attracted more or broader international attention than James Joyce. Translations, adaptations, and imitations as well as works of criticism are being published in increasing numbers and frequency, and show a proliferating diversity of approaches and perspectives on the work, life, and influence of Joyce.
In view of the internationalism of Joyce studies, and the current dissemination of literary-critical pluralism, this peer-reviewed series hopes to offer a platform for specifically "European" perspectives on Joyce's works, their adaptations, annotation, and translation, studies in biography, the history of and current debates in Joyce criticism, Joyce's place in literary history, matters of influence and the transmission of ideas etc.
In calling this series "European" in the broadest sense, we aim at soliciting not only the submission of articles by European contributors, but more generally all essays and research focusing on issues of European concern such as language, nationality and culture, literary-historical movements, ideology, politics, and distribution, as well as literary-critical perspectives with European roots.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
The series published an average of one volume per year over the last 5 years.
A Cultural History of the Avant-Garde in the Nordic Countries is a subseries of Avant-Garde Critical Studies providing a comprehensive overview and in-depth analysis of the cultural manifestations of the avant-garde in the Nordic countries from 1900-2010s.
Due to its success and the continued need to decenter the avant-garde we are continuing the format of the Cultural History of the Avant-Garde in a Companion Series, poignantly called: A Cultural History of the Avant-Garde: A Companion Series. Here you can explore more regions covered.
Due to its success and the continued need to decenter the avant-garde we are continuing the format of the Cultural History of the Avant-Garde in a Companion Series, poignantly called: A Cultural History of the Avant-Garde: A Companion Series. Here you can explore more regions covered.
Editor:
The controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature.
He 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 ‘the greatest war novel ever written by an Englishman’.
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.
The series is published in association with the Ford Madox Ford Society.
For information about the Ford Madox Ford Society, please see the website at: www.open.ac.uk/Arts/fordmadoxford-society
or contact: max.saunders@kcl.ac.uk or Dr Sara Haslam, Department of Literature, Open University, Walton Hall, Milton Keynes, MK7 6AA, UK
Guidelines for contributors to IFMFS, including a full list of abbreviations of Ford's titles and related works, can be found on the website.
He 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 ‘the greatest war novel ever written by an Englishman’.
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.
The series is published in association with the Ford Madox Ford Society.
For information about the Ford Madox Ford Society, please see the website at: www.open.ac.uk/Arts/fordmadoxford-society
or contact: max.saunders@kcl.ac.uk or Dr Sara Haslam, Department of Literature, Open University, Walton Hall, Milton Keynes, MK7 6AA, UK
Guidelines for contributors to IFMFS, including a full list of abbreviations of Ford's titles and related works, can be found on the website.
During the past decade, human communities worldwide have witnessed a succession of troubling developments that have intensified an already dire collective sense of global environmental crisis often brought on most poignantly in local or regional tragedies such as the BP oil spill in the Gulf of Mexico, the 2010 Pakistan floods, or the Ajka alumina sludge spill in western Hungary. If we accept writer Wendell Berry’s suggestion that the agricultural crisis, one of many perceived faces of ecological decline in the late 20th century, is basically a “crisis of culture,” then what have our experts on culture(s) to say about this situation?
Studies in Environmental Humanities is a series which brings to the forefront the value of the arts and humanities in the formulation of environmental policy. In a spirit of interdisciplinary/multidisciplinary engagement, the series sheds light on the perspectives of literary scholars, historians, human geographers, architects, spatial planners, cultural studies theorists and art historians regarding the environmental turn in contemporary human consciousness.
At its core, the series ponders how writers, artists and other public intellectuals of the humanistic domain can contribute to a better understanding of the state of the planet. To answer this, the series welcomes studies that advance knowledge across a broad disciplinary spectrum both within and beyond the humanities and which engage vital and timely environmental questions.
The series is published in association with the Nordic Network for Interdisciplinary Environmental Studies (NIES) but welcomes proposals from scholars who are no members.
Authors are cordially invited to submit proposals to the publisher at BRILL, Christa Stevens.
Studies in Environmental Humanities is a series which brings to the forefront the value of the arts and humanities in the formulation of environmental policy. In a spirit of interdisciplinary/multidisciplinary engagement, the series sheds light on the perspectives of literary scholars, historians, human geographers, architects, spatial planners, cultural studies theorists and art historians regarding the environmental turn in contemporary human consciousness.
At its core, the series ponders how writers, artists and other public intellectuals of the humanistic domain can contribute to a better understanding of the state of the planet. To answer this, the series welcomes studies that advance knowledge across a broad disciplinary spectrum both within and beyond the humanities and which engage vital and timely environmental questions.
The series is published in association with the Nordic Network for Interdisciplinary Environmental Studies (NIES) but welcomes proposals from scholars who are no members.
Authors are cordially invited to submit proposals to the publisher at BRILL, Christa Stevens.
Systematic and Historical Perspectives on Intermedial, Transmedial, and Multimodal Theory and Practice
Editor:
The multidisciplinary series Studies in Intermediality comprises monographs and essay collections that explore dynamic relations between media, that is, complex processes of medial exchange, transformation, interaction, or interplay. The series highlights the fact that the field of Intermediality Studies has become increasingly variegated and that it advances overlapping, yet distinct theories of intermediality, transmediality, multimodality, and adaptation. These theories acknowledge an extensive range of relationships established among various media and investigate how more general conceptualizations of mediality emerge from ever-diversifying mediascapes, which incorporate media that have persisted for centuries as well as new formats (digital or otherwise) that continue to evolve.
The peer-reviewed volumes of Studies in Intermediality, which have been appearing since 2006, critically assess the internationally far-reaching and innovative scope of Intermediality Studies and related fields.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
The peer-reviewed volumes of Studies in Intermediality, which have been appearing since 2006, critically assess the internationally far-reaching and innovative scope of Intermediality Studies and related fields.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
This volume invites you to wander through the shadows of the City of Light and discover another, often invisible and silent Paris. Its chapters explore Parisian margins, including various populations, spaces and practices, as represented in French literature and cinema since 1800. You will take a peek at the Parisians’ criminal activities and nocturnal lives in the nineteenth century, and witness how industrialization and capitalism between the 1850s and the 1970s reshaped the socioeconomic map of the city by creating or reinforcing spaces of social inequity. You will also meet marginalized groups that are often ignored or neglected in today’s Paris—and French society—including the LGBTQIA+, Black and immigrant communities.
Representing the Shadows of the City of Light
Series:
Francopolyphonies, Volume: 35
This volume invites you to wander through the shadows of the City of Light and discover another, often invisible and silent Paris. Its chapters explore Parisian margins, including various populations, spaces and practices, as represented in French literature and cinema since 1800. You will take a peek at the Parisians’ criminal activities and nocturnal lives in the nineteenth century, and witness how industrialization and capitalism between the 1850s and the 1970s reshaped the socioeconomic map of the city by creating or reinforcing spaces of social inequity. You will also meet marginalized groups that are often ignored or neglected in today’s Paris—and French society—including the LGBTQIA+, Black and immigrant communities.
Création, représentation et sociabilité au féminin, 1650-1914
Comment une femme pouvait-elle s’affirmer et faire carrière dans le monde du spectacle entre 1650 et 1914 ? Dans une perspective interdisciplinaire, les quinze études réunies dans ce volume apportent des éléments de réponse à travers l’analyse de parcours d’autrices, de compositrices et de performeuses aux profils très variés, actives dans les domaines du théâtre, de la danse et de l’opéra. Ces études proposent une meilleure compréhension et contextualisation des obstacles et préjugés auxquels ces artistes ont dû faire face dans un milieu socio-professionnel majoritairement masculin, ainsi qu’une interprétation analytique des stratégies artistiques et discursives mises en place pour les surmonter. Il en ressort une approche renouvelée et une meilleure connaissance de notre matrimoine culturel.
Création, représentation et sociabilité au féminin, 1650-1914
Comment une femme pouvait-elle s’affirmer et faire carrière dans le monde du spectacle entre 1650 et 1914 ? Dans une perspective interdisciplinaire, les quinze études réunies dans ce volume apportent des éléments de réponse à travers l’analyse de parcours d’autrices, de compositrices et de performeuses aux profils très variés, actives dans les domaines du théâtre, de la danse et de l’opéra. Ces études proposent une meilleure compréhension et contextualisation des obstacles et préjugés auxquels ces artistes ont dû faire face dans un milieu socio-professionnel majoritairement masculin, ainsi qu’une interprétation analytique des stratégies artistiques et discursives mises en place pour les surmonter. Il en ressort une approche renouvelée et une meilleure connaissance de notre matrimoine culturel.
XIXe - XXIe siècles
Volume Editor:
Depuis le romantisme, la littérature a annexé les innombrables formes d’impuissance inhérentes à la complexité du monde moderne. Le présent ouvrage réfléchit sur les raisons et les modalités qui ont transformé la déclinaison de l’impuissance en objet littéraire, de Balzac à Huysmans, de Proust à Queneau, de Malraux à Michaux, en passant par Tinan, Amiel, Beckett pour arriver à Chaillou, Senges, aux écrivains de la postmémoire et de l’extrême contemporain. Il montre notamment comment la littérature française du XIXe au XXIe siècle s’est construite à partir de l’énonciation de ses limites et de celles de l’homme face à la réalité et à l’histoire. Une incitation à reconsidérer les discours contemporains sur le déclin du littéraire et à repenser la fictionnalisation de l’impuissance en termes de relance.
Since Romanticism, literature has embraced the myriad forms of powerlessness inherent in the complexity of the modern world. This book examines the reasons and methods that have transformed powerlessness into a literary object, from Balzac to Huysmans, from Proust to Queneau, from Malraux to Michaux, via Tinan, Amiel and Beckett to Chaillou, Senges, and the writers of post-mémoire and extrême contemporain. In particular, it shows how French literature from the nineteenth to the twenty-first century has been built on the enunciation of its own limits and those of man in the face of reality and history. It constitutes an invitation to reconsider contemporary discourses on the decline of the literary and to rethink the fictionalisation of powerlessness in terms of revival.
Since Romanticism, literature has embraced the myriad forms of powerlessness inherent in the complexity of the modern world. This book examines the reasons and methods that have transformed powerlessness into a literary object, from Balzac to Huysmans, from Proust to Queneau, from Malraux to Michaux, via Tinan, Amiel and Beckett to Chaillou, Senges, and the writers of post-mémoire and extrême contemporain. In particular, it shows how French literature from the nineteenth to the twenty-first century has been built on the enunciation of its own limits and those of man in the face of reality and history. It constitutes an invitation to reconsider contemporary discourses on the decline of the literary and to rethink the fictionalisation of powerlessness in terms of revival.
XIXe - XXIe siècles
Volume Editor:
Depuis le romantisme, la littérature a annexé les innombrables formes d’impuissance inhérentes à la complexité du monde moderne. Le présent ouvrage réfléchit sur les raisons et les modalités qui ont transformé la déclinaison de l’impuissance en objet littéraire, de Balzac à Huysmans, de Proust à Queneau, de Malraux à Michaux, en passant par Tinan, Amiel, Beckett pour arriver à Chaillou, Senges, aux écrivains de la postmémoire et de l’extrême contemporain. Il montre notamment comment la littérature française du XIXe au XXIe siècle s’est construite à partir de l’énonciation de ses limites et de celles de l’homme face à la réalité et à l’histoire. Une incitation à reconsidérer les discours contemporains sur le déclin du littéraire et à repenser la fictionnalisation de l’impuissance en termes de relance.
Since Romanticism, literature has embraced the myriad forms of powerlessness inherent in the complexity of the modern world. This book examines the reasons and methods that have transformed powerlessness into a literary object, from Balzac to Huysmans, from Proust to Queneau, from Malraux to Michaux, via Tinan, Amiel and Beckett to Chaillou, Senges, and the writers of post-mémoire and extrême contemporain. In particular, it shows how French literature from the nineteenth to the twenty-first century has been built on the enunciation of its own limits and those of man in the face of reality and history. It constitutes an invitation to reconsider contemporary discourses on the decline of the literary and to rethink the fictionalisation of powerlessness in terms of revival.
Since Romanticism, literature has embraced the myriad forms of powerlessness inherent in the complexity of the modern world. This book examines the reasons and methods that have transformed powerlessness into a literary object, from Balzac to Huysmans, from Proust to Queneau, from Malraux to Michaux, via Tinan, Amiel and Beckett to Chaillou, Senges, and the writers of post-mémoire and extrême contemporain. In particular, it shows how French literature from the nineteenth to the twenty-first century has been built on the enunciation of its own limits and those of man in the face of reality and history. It constitutes an invitation to reconsider contemporary discourses on the decline of the literary and to rethink the fictionalisation of powerlessness in terms of revival.
The Stubborn Persistence of Humanism in Contemporary Phenomenology
Author:
The Ungraspable as a Philosophical Problem provides an analysis of the ungraspable—of that which cannot be grasped by the mind or the senses. When referring to the ungraspable in sensible reality, we often speak of the “untouchable,” the “invisible,” the “inaudible,” and the “untastable.” In the abstract realm, we speak of the “non-conceptual,” the “ineffable,” the “unsayable.” These are the modalities of the ungraspable that are explored in this study. They have been considered absolute by some thinkers, a claim that I critically assess. My central claim is that the absoluteness of these modalities is linked to a desire to grasp, which is characterized by the desire for exactitude, for the proper, and for domination. First, I examine the role of the hand in phenomenology, more precisely in Martin Heidegger’s philosophy, in order to further define the notion of the ungraspable. I then analyze Emmanuel Levinas’s early works, which offer an account of the ungraspability of nature (the there is). I then turn to Jacques Derrida, who has proved that otherness is not only human but also animal and theoretical, but who devotes little space to the otherness of the more-than-human, or inorganic objects. Finally, I examine the otherness of so-called inorganic or more-than-living objects (natural objects and artifacts), demonstrating its importance to our current situation.
The Stubborn Persistence of Humanism in Contemporary Phenomenology
Author:
The Ungraspable as a Philosophical Problem provides an analysis of the ungraspable—of that which cannot be grasped by the mind or the senses. When referring to the ungraspable in sensible reality, we often speak of the “untouchable,” the “invisible,” the “inaudible,” and the “untastable.” In the abstract realm, we speak of the “non-conceptual,” the “ineffable,” the “unsayable.” These are the modalities of the ungraspable that are explored in this study. They have been considered absolute by some thinkers, a claim that I critically assess. My central claim is that the absoluteness of these modalities is linked to a desire to grasp, which is characterized by the desire for exactitude, for the proper, and for domination. First, I examine the role of the hand in phenomenology, more precisely in Martin Heidegger’s philosophy, in order to further define the notion of the ungraspable. I then analyze Emmanuel Levinas’s early works, which offer an account of the ungraspability of nature (the there is). I then turn to Jacques Derrida, who has proved that otherness is not only human but also animal and theoretical, but who devotes little space to the otherness of the more-than-human, or inorganic objects. Finally, I examine the otherness of so-called inorganic or more-than-living objects (natural objects and artifacts), demonstrating its importance to our current situation.
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