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Focusing on literary and cultural texts from the late eighteenth century to the early twentieth, Patrick R. O'Malley argues that in order to understand both the literature and the varieties of nationalist politics in nineteenth-century Ireland, we must understand the various modes in which the very notion of the historical past was articulated. He proposes that nineteenth-century Irish literature and culture present two competing modes of political historiography: one that eludes the unresolved wounds of Ireland's violent history through the strategic representation of a unified past that could be the model for a liberal future; and one that locates its roots not in a culturally triumphant past but rather in an account of colonial and specifically sectarian bloodshed and insists upon the moral necessity of naming that history. From myths of pre-Christian Celtic glories to medieval Catholic scholarship to the rise of the Protestant Ascendancy to narratives of colonial violence against Irish people by British power, Irish historiography strove to be the basis of a new nationalism following the 1801 Union with Great Britain, and yet it was itself riven with contention.
Patrick R. O'Malley explores two competing modes of political historiography that emerge within Irish literature and culture: one that eludes the unresolved wounds of Ireland's violent history, and one that locates its roots in an account of colonial and specifically sectarian bloodshed and insists upon the moral necessity of naming that history.
Explores the politics of nineteenth-century British realismOffers a new theory of institutions grounded in temporalityOutlines a transnational theory of British realism that emerges from interpreting Irish realist novelsReassesses the politics of realism and the politics of institutionsContains close-reading of realist novels as well as a new genealogy of British realismAdvances a new understanding of the relationship between realism and colonialismThis book examines anachronisms in realist writing from the colonial periphery to redefine British realism and rethink the politics of institutions. Paying unprecedented attention to nineteenth-century Irish novels, it demonstrates how institutions constrain social relationships in the present and limit our sense of political possibilities in the future. It argues that we cannot escape institutions, but we can refuse the narrow political future that they work to secure.
An interpretation of Joyce's masterpiece which illuminates its philosophical and literary significance.
A bold reimagining of the literary history of Decadence through a close examination of the transnational contexts of Oscar Wilde's classic novel The Picture of Dorian Gray. Building upon a large body of archival and critical work on Oscar Wilde's only novel, Dorian Unbound offers a new account of the importance of transnational contexts in the forging of Wilde's imagination and the wider genealogy of literary Decadence. Sean O'Toole argues that the attention critics have rightly paid to Wilde's backgrounds in Victorian Aestheticism and French Decadence has had the unintended effect of obscuring a much broader network of transnational contexts. Attention to these contexts allows us to reconsider how we read The Picture of Dorian Gray, what we believe we know about Wilde, and how we understand literary Decadence as both a persistent, highly mobile cultural mode and a precursor to global modernism. In developing a transnational framework for reading Dorian Gray, O'Toole recovers a subterranean network of nineteenth-century cultural movements. At the same time, he joins several active and vital conversations about what it might mean to expand the geographical reach of Victorian studies and to trace the globalization of literature over a longer period of time. Dorian Unbound includes chapters on the Irish Gothic, German historical romance, US magic-picture tradition, and experimental English epigrams, as well as a detailed history and a new close reading of the novel, in an effort to understand Wilde's contribution to a more dynamic idea of Decadence than has been previously known. From its rigorous account of the broad archive of texts that Wilde read and the array of cultural movements from which he drew inspiration in writing Dorian Gray to the novel's afterlives and global resonances, O'Toole paints a richer picture of the author and his famously allusive prose. This book makes a compelling case for a comparative reading of the novel in a global context. It will appeal to historians and admirers of Wilde's career as well as to scholars of nineteenth-century literature, queer and narrative theory, Irish studies, and art history.
What links the Investment Bank of Torabundo, www.myhotswaitress.com (yes, with an s, don't ask), an art heist, a novel called For the Love of a Clown, a six-year-old boy with the unfortunate name of Remington Steele, a lonely French banker, a tiny Pacific island, and a pest control business run by an ex-KGB agent? The Mark and the Void is Paul Murray's madcap new novel of institutional folly, following the success of his wildly original breakout hit, Skippy Dies. While marooned at his banking job in the bewilderingly damp and insular realm known as Ireland, Claude Martingale is approached by a down-on-his-luck author, Paul, looking for his next great subject. Claude finds that his life gets steadily more exciting under Paul's fictionalizing influence; he even falls in love with a beautiful waitress. But Paul's plan is not what it seems—and neither is Claude's employer, the Investment Bank of Torabundo, which swells through dodgy takeovers and derivatives trading until—well, you can probably guess how that shakes out. The Mark and the Void is the funniest novel ever written about the recent financial crisis, and a stirring examination of the deceptions carried out in the names of art and commerce.
Mary Reynolds studies the rhetorical and linguistic maneuvers by which Joyce related his work to Dante's and shows how Joyce created in his own fiction a Dantean allegory of art. Dr. Reynolds argues that Joyce read Dante as a poet rather than as a Catholic; that Joyce was interested in Dante's criticism of society and, above all, in his great powers of innovation. Originally published in 1981. 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 stunning New Age tour through literature, sculpture, and science that looks at the archetype of the human ascent to the heavens
Contemporary Capitalism, Crisis, and the Politics of Fiction: Literature Beyond Fordism proposes a fresh approach to contemporary fictional engagements with the idea of crisis in capitalism and its various social and economic manifestations. The book investigates how late-twentieth and twenty-first-century Anglophone fiction has imagined, interpreted, and in most cases resisted, the collapse of the socio-economic structures built after the Second World War and their replacement with a presumably immaterial order of finance-led economic development. Through a series of detailed readings of the words of authors Martin Amis, Hari Kunzru, Don DeLillo, Zia Haider Rahman, John Lanchester, Paul Murray and Zadie Smith among others, this study sheds light on the embattled and decidedly unstable nature of contemporary capitalism.