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This book explores Siegfried Sassoon's writing of the twenties, thirties and forties, demonstrating the connections between trauma and nostalgia in a culture saturated with the anxieties of war.Informed by the texts of Freud, W.H.R. Rivers and other psychological writers of the early twentieth century, as well as contemporary theorists of nostalgia and trauma, this book examines the pathology of nostalgia conveyed in Sassoon's unpublished poems, letters and journals, together with his published work. It situates his ongoing anxiety about 'Englishness', modernity, and his relation to modernist aesthetics, within the context of other literary responses to the legacy of war, and the threat of war's return, by writers including Edmund Blunden, Robert Graves and T. E. Lawrence.
Jane Austen completed only six novels, but enduring passion for the author and her works has driven fans to read these books repeatedly, in book clubs or solo, while also inspiring countless film adaptations, sequels, and even spoofs involving zombies and sea monsters. Austen’s lasting appeal to both popular and elite audiences has lifted her to legendary status. In Jane Austen’s Cults and Cultures, Claudia L. Johnson shows how Jane Austen became “Jane Austen,” a figure intensely—sometimes even wildly—venerated, and often for markedly different reasons. Johnson begins by exploring the most important monuments and portraits of Austen, considering how these artifacts point to an author who is invisible and yet whose image is inseparable from the characters and fictional worlds she created. She then passes through the four critical phases of Austen’s reception—the Victorian era, the First and Second World Wars, and the establishment of the Austen House and Museum in 1949—and ponders what the adoration of Austen has meant to readers over the past two centuries. For her fans, the very concept of “Jane Austen” encapsulates powerful ideas and feelings about history, class, manners, intimacy, language, and the everyday. By respecting the intelligence of past commentary about Austen, Johnson shows, we are able to revisit her work and unearth fresh insights and new critical possibilities. An insightful look at how and why readers have cherished one of our most beloved authors, Jane Austen’s Cults and Cultures will be a valuable addition to the library of any fan of the divine Jane.
Susan Dean uses Hardy's own metaphor—the diorama of a dream—to interpret The Dynasts, his largest and last major composition. She shows that the poem presents a model of the human mind. In that mind is enacted an event (the war with Napoleon) and, simultaneously, the watching of that event. The author provides a reading of the poem in visual-dramatic terms, using the diorama stage as the vehicle for the poet's field of vision. She then defines various visual dimensions, the relationships between them, and the various ways in which they can be seen and understood. Her interpretation draws on Hardy's autobiography and critical essays. Originally published in 1977. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A history of Austen's world that relates the ideas and events of the Revolutionary Age to her novels. Its central premise is that Austen experienced the impulses of this historical period and that her fiction is a record of that experience. Its chapters cover politics, war, religion, and women and the family. First published by Macmillan, 1979. Annotation copyright by Book News, Inc., Portland, OR
Using insights derived from the critical theory of Mikhail Bakhtin, Wickens counters the usual view of The Dynasts as failed epic or tragedy, and instead situates the work as a novel within the serio-comical genres.
In this epic historical drama in verse form, Thomas Hardy brings the same level of realism and gritty detail to a poetic retelling of the Napoleonic Wars that he honed in novels such as Far From the Madding Crowd and Jude the Obscure. Hardy himself considered The Dynasts to be his masterpiece, and though critical response was initially lukewarm, modern-day readers and critics have come to appreciate the vast scope and literary innovation of this ambitious work.
A new anthology that combines generous selections from well-known soldier poets such as Wilfred Owen and Siegfried Sassoon with work by civilian and women writers. A general introduction places Great War poetry in its contexts and the work of each poet is prefaced with a biographical account that explains the circumstances of composition.

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