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Jason Marc Harris's ambitious book argues that the tensions between folk metaphysics and Enlightenment values produce the literary fantastic. Demonstrating that a negotiation with folklore was central to the canon of British literature, he explicates the complicated rhetoric associated with folkloric fiction. His analysis includes a wide range of writers, including James Barrie, William Carleton, Charles Dickens, George Eliot, Sheridan Le Fanu, Neil Gunn, George MacDonald, William Sharp, Robert Louis Stevenson, and James Hogg. These authors, Harris suggests, used folklore to articulate profound cultural ambivalence towards issues of class, domesticity, education, gender, imperialism, nationalism, race, politics, religion, and metaphysics. Harris's analysis of the function of folk metaphysics in nineteenth- and early twentieth-century narratives reveals the ideological agendas of the appropriation of folklore and the artistic potential of superstition in both folkloric and literary contexts of the supernatural.
This dictionary is part of the Oxford Reference Collection: using sustainable print-on-demand technology to make the acclaimed backlist of the Oxford Reference programme perennially available in hardback format. An engrossing guide to English folklore and traditions, with over 1,250 entries. Folklore is connected to virtually every aspect of life, part of the country, age group, and occupation. From the bizarre to the seemingly mundane, it is as much a feature of the modern technological age as of the ancient world. BL Oral and Performance genres-Cheese rolling, Morris dancing, Well-dressingEL BL Superstitions-Charms, Rainbows, WishbonesEL BL Characters-Cinderella, Father Christmas, Robin Hood, Dick WhittingtonEL BL Supernatural Beliefs-Devil's hoofprints, Fairy rings, Frog showersEL BL Calendar Customs-April Fool's Day, Helston Furry Day, Valentine's DayEL
Folklore provides a metaphor for insecurity in British women's writing published between 1750 and 1880. When characters feel uneasy about separations between races, classes, or sexes, they speak of mermaids and «Cinderella» to make threatening women unreal and thus harmless. Because supernatural creatures change constantly, a name or story from folklore merely reinforces fears about empire, labor, and desire. To illustrate these fascinating rhetorical strategies, this book explores works by Sarah Fielding, Ann Radcliffe, Sydney Owenson, Charlotte Brontë, George Eliot, Anne Thackeray, and Jean Ingelow, pushing our understanding of allusions to folktales, fairy tales, and myths beyond «happily ever after.»
Classical Mythology in English Literature brings together a range of English versions of three classical myths. It allows students to explore the ways in which they have been reinterpreted and reinvented by writers throughout history. Beginning with a concise introduction to the principle Greco-Roman gods and heroes, the anthology then focuses on three stories: * Orpheus, the great musician and his quest to free his wife Eurydice from death * Venus and Adonis, the love goddess and the beautiful youth she loved * Pygmalion, the master sculptor who fell in love with his creation. Each section begins with the classical sources and ends with contemporary versions, showing how each myth has been used/abused or appropriated since its origins
Recounting stories and legends from the dark centuries of British prehistory to the 9th century AD, Ashe shows how they interrelate and take on fresh significance from historical and archaeological research.
Beyond its housing estates and identikit high streets there is another Britain. This is the Britain of mist-drenched forests and unpredictable sea-frets: of wraith-like fog banks, druidic mistletoe and peculiar creatures that lurk, half-unseen, in the undergrowth, tantalising and teasing just at the periphery of human vision. How have the remarkably persistent folkloric traditions of the British Isles formed and been formed by the psyches of those who inhabit them? In this sparkling new history, Carolyne Larrington explores the diverse ways in which a myriad of fantastical beings has moulded the nation's cultural history. Fairies, elves and goblins here tread purposefully, sometimes malignly, over an eerie landscape that also conceals brownies, selkies, trows, knockers, boggarts, land-wights, Jack o'Lanterns, Barguests, the sinister Nuckleavee and Black Shuck: terrifying hell-hound of the Norfolk coast with eyes of burning coal. Ranging from Shetland to Jersey and from Ireland to East Anglia, while evoking the Wild Hunt, the ghostly bells of Lyonesse and the dread fenlands haunted by Grendel, this is a book that will captivate all those who long for the wild places: the mountains and chasms where giants lie in wait
This anthology is in many was a ‘best of the best’, containing gems from thirty-four of Britain's outstanding contemporary writers. It is a book to dip into, to read from cover to cover, to lend to friends and read again. It includes stories of love and crime, stories touched with comedy and the supernatural, stories set in London, Los Angeles, Bucharest and Tokyo. Above all, as you will discover, it satisfies Samuel Butler's anarchic pleasure principle: 'I should like to like Schumann's music better than I do; I daresay I could make myself like it better if I tried; but I do not like having to try to make myself like things; I like things that make me like them at once and no trying at all ...'
This book reassesses Hardy’s fiction in the light of his prolonged engagement with the folklore and traditions of rural England. Drawing on wide research, it demonstrates the pivotal role played in the novels by such customs and beliefs as ‘overlooking’, hag-riding, skimmington-riding, sympathetic magic, mumming, bonfire nights, May Day celebrations, Midsummer divination, and the ‘Portland Custom’. This study shows how such traditions were lived out in practice in village life, and how they were represented in written texts – in literature, newspapers, county histories, folklore books, the work of the Folklore Society, archival documents, and letters. It explores tensions between Hardy’s repeated insistence on the authenticity of his accounts and his engagement with contemporary anthropologists and folklorists, and reveals how his efforts to resist their ‘excellently neat’ categories of culture open up wider questions about the nature of belief, progress, and social change.