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Of all Russian writers, Chekhov is one of the best liked and most easily appreciated. Yet because his work is subtle and understated, we need help to understand him. Chekhov can be (as his friends complained) the most elusive of writers, and one who appears capable of having two opposite views and opposite intentions simultaneously. Donald Rayfield, one of the world's foremost Chekhov scholars, reveals the layers of meaning on which the stories and plays are built. All Chekhov's important works are studied: we see how closely the two genres are connected and gain insight into Chekhov's rapid development over his brief twenty years of creative life, from medical student supplementing his income by writing comic stories, to father of twentieth-century drama and narrative prose.
This book is a study of the evolving role of women throughout Beckett's work. Beckett's early writing is structured upon very sharply defined gender polaritiesóobjects of alarm, lust, derision, or indifference. Beckett's shift from fiction to stage and media dramaógiving a voice to womenóunsettles this adversarial structure. In later prose and drama, gender qualifies Beckett's people for neither fear nor favor. Mary Bryden's analysis drawing on the insights of such French writers as Deleuze and Guattari, and Helene Cixous, traces how gender dualisms are undermined over the course of Beckett's writing career. She examines the status of sexual indeterminacy in Beckett's work, and concludes with a remarkable case study: that of the mother figure, whose profile alters from dread to tenderness. The book embraces not only Beckett's published prose and drama, but also a number of unpublished and draft manuscripts from Reading University's Beckett Archive. Women in Samuel Beckett's Prose and Drama, will be of great interest to Literary Studies courses in both French and English departments, and Women's Studies courses. Contents: Introduction; Space Invaders: Women of the Early Fiction; Beckett and Deleuze: Gender in Process; Undoing the "Not": Women of the Early Drama; "No Better than Shades No Worse": Women of the Later Drama; Nomad Selves: Women of the Later Prose; Otherhood/Motherhood/Smotherhood: The Mother in Beckett's Writing; Conclusion; Bibliography; Index.
Exploring the Language of Poems, Plays and Prose examines how readers interact with literary works, how they understand and are moved by them. Mick Short considers how meanings and effects are generated in the three major literary genres, carying out stylistic analysis of poetry, drama and prose fiction in turn. He analyses a wide range of extracts from English literature, adopting an accessible approach to the analysis of literary texts which can be applied easily to other texts in English and in other languages.
Goethe's early plays bear witness to his urgent desire to enliven German theater--an ambition that followed him to the National Theater in Weimar, where he was named director in the early 1790s. This volume contains eight of these plays, written between 1771 and 1787. Not only do they demonstrate Goethe's unprecedented versatility in experimenting with new forms of dramatic expression, but they also give insight into his development from Sturm und Drang to classicism. These works include prose plays (Goetz von Berlichingen with the Iron Hand and Egmont), tragedies and comedies (Clavigo, Stella, and Brother and Sister), and dramatic verse forms (Prometheus, Jery and Betty, and Proserpina).
"The narrator, reading with clarity and precision, tells the well-known story of the Jewish girl and her family who hid during the Holocaust...[This] high-quality read-along...[is] excellent for school and public libraries." - Booklist
This brand new collection, impeccably edited by James Pethica, presents a comprehensive selection of Yeats's major contributions in poetry, drama, prose fiction, autobiography, and criticism.
Digital Literary Studies presents a broad and varied picture of the promise and potential of methods and approaches that are crucially dependent upon the digital nature of the literary texts it studies and the texts and collections of texts with which they are compared. It focuses on style, diction, characterization, and interpretation of single works and across larger groups of texts, using both huge natural language corpora and smaller, more specialized collections of texts created for specific tasks, and applies statistical techniques used in the narrower confines of authorship attribution to broader stylistic questions. It addresses important issues in each of the three major literary genres, and intentionally applies different techniques and concepts to poetry, prose, and drama. It aims to present a provocative and suggestive sample intended to encourage the application of these and other methods to literary studies. Hoover, Culpeper, and O’Halloran push the methods, techniques, and concepts in new directions, apply them to new groups of texts or to new questions, modify their nature or method of application, and combine them in innovative ways.
What does it mean to contemplate? In the Middle Ages, more than merely thinking with intensity, it was a religious practice entailing utter receptiveness to the divine presence. Contemplation is widely considered by scholars today to have been the highest form of devotional prayer, a rarified means of experiencing God practiced only by the most devout of monks, nuns, and mystics. Yet, in this groundbreaking new book, Eleanor Johnson argues instead for the pervasiveness and accessibility of contemplative works to medieval audiences. By drawing together ostensibly diverse literary genres—devotional prose, allegorical poetry, cycle dramas, and morality plays—Staging Contemplation paints late Middle English contemplative writing as a broad genre that operated collectively and experientially as much as through radical individual disengagement from the world. Johnson further argues that the contemplative genre played a crucial role in the exploration of the English vernacular as a literary and theological language in the fifteenth century, tracing how these works engaged modes of disfluency—from strained syntax and aberrant grammar, to puns, slang, code-switching, and laughter—to explore the limits, norms, and potential of English as a devotional language. Full of virtuoso close readings, this book demonstrates a sustained interest in how poetic language can foster a participatory experience of likeness to God among lay and devotional audiences alike.