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2
Shakespeare, William. Unfamiliar Shakespeare: Scenes from the less-known plays. Stratus, 1999.
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3
Kyle, Linda Davis. The writer's friend: Behind the scenes with editors. Edited by Gregg Joseph and McAlary Nancy. WritingNow.com Pub., 2000.
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4
Barnaby, Conrad. 101 best sex scenes ever written: An erotic romp through literature for writers and readers. Quill Driver Books, 2011.
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5
The dramatic writer's companion: Tools to develop characters, cause scenes, and build stories. The University of Chicago Press, 2009.
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Carol Geronès, Lídia. Un bric-à-brac de la Belle Époque. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-434-9.
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Fortuny (1983) by Pere Gimferrer is the only novel (at least to date) that the author has written in Catalan and it represents one of the most unique novels of contemporary Hispanic narrative. The aims of the present study are mainly two: to shed light on one of the most important, but least studied, works by Pere Gimferrer, the greatest representative of Hispanic creativity for the Post-War Generation, and to analyse critical reception of the work and show how the novel has evolved from the time of publication in 1983 until today. This essay consists of three major parts: the study of critical reception, the narratological analysis of the text and the unveiling of the textual, but above all visual, references that make up the novel. The latter allows us to explain two essential elements of the novel: the imaginary Fortuny on the one hand and, on the other, the novel’s intertextual concrete figure of speech, its ekphrasis. The study of this intentionally visual character of the novel not only wanted to highlight the importance of two arts to which Gimferrer has always paid special attention – we refer to cinema and painting – but has also demonstrated the desire of the writer to innovate the Catalan narrative scene, using different literary devices to push the limits of the genre novel.
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Writers, Turl Street. Behind the Scenes: An Oxford Writers' Anthology. Independently Published, 2020.
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11
William Shakespeare: Scenes from the Life of the World's Greatest Writer. Quarto Publishing Group UK, 2016.
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Manning, Mick. William Shakespeare: Scenes from the life of the world's greatest writer. 2015.
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13
Klaassen, Mike. Scenes and Sequels: How to Write Page-Turning Fiction. BookBaby, 2016.
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14
Memories of a Soap Opera Writer Behind the Scenes at General Hospital. Nostalgia Unlimited, 1994.
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15
Raubicheck, Walter, and Walter Srebnick. From Treatment to Script. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036484.003.0003.
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This chapter looks at Hitchcock's involvement in creating the plot and text of his scripts. It studies the various drafts of the films under consideration, revealing three distinct objectives as Hitchcock monitors them: the removal of what he called “no scene” scenes; the addition of some strongly visual shots or the elaboration of a scene to provide increased insight into a character, usually without new dialogue; and the removal of dialogue that did not add anything substantial to characterization or merely indicated some idea that the camera had already conveyed. Between the first draft and the shooting script, the screenplay would often be rewritten substantially at least three times, as the collaboration between the director and his writers continued. At the same time, Hitchcock would begin his preproduction work, which would often influence later drafts of the script.
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Maxwell, Catherine. Les Fleurs du Mâle. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0004.
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Focusing on the founding figures of British aestheticism, Algernon Charles Swinburne and Walter Pater, this chapter discusses how they embraced the identity of the aesthetic olfactif, the cultivation of scent sensitivity, and the notion of the perfumed atmosphere produced by individual writers and literary or cultural schools, with this reflected in their influential critical prose. While Swinburne’s notorious Poems and Ballads (1866) apparently revels in heady perfumes, his own taste for light airy florals and dislike of musk clearly emerges in his subsequent poetry and prose, although his associations with his favoured scents are anything but conventional. Pater, another lover of delicate floral fragrance, refines Swinburne’s perception of the ‘scent’ of literature into a subtler critical language. His influential notion of the literary work’s ‘scented essence’ was adopted by admirers like Wilde and Symons, while his own writing was noted for its unmistakable ‘perfume’.
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Between the scenes: What every film director, writer, and editor should know about scene transitions. Wiese Productions, Michael, 2014.
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18
Bowers, Toni. Epistolary Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0024.
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This chapter focuses on epistolary fiction. In epistolary fiction, stories unfold by means of letters exchanged among fictional correspondents. The governing pretence is that the letters that make up the work represent not fiction at all, but a real-life exchange among correspondents who do not expect their communications ever to become public; only later are the letters collated for publication, often not by the supposed letter writers themselves. Typically written in a moment-by-moment simple past or present progressive tense, stories in epistolary form tend to privilege scenes of intense emotion or suspense, when fictional letter writers are uncertain or confused and the way forward is not clear. There is no controlling narrative voice; the characters who contribute to the telling of the story are themselves trying to determine what particular events mean.
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Mullally, David S. Order in the Court: A Writer's Guide to the Legal System (Behind the Scenes). Writer's Digest Books, 1999.
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Scenes from an Ordinary Life: Getting Naked to Explore a Writer's Process and Possibilities. Fine Tooth Press L.L.C., 2005.
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Malcolm, William K. Lewis Grassic Gibbon. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620627.001.0001.
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Lewis Grassic Gibbon galvanized the Scottish literary scene in 1932 with Sunset Song, the first novel of the epic trilogy A Scots Quair, that drew vividly upon his deprived upbringing on a small croft in Aberdeenshire to capture the zeitgeist of the early twentieth century. Yet his literary legacy extends significantly beyond his breakout book. The seventeen volumes that he amassed in his short life, under his own name of James Leslie Mitchell as well as his Scots pseudonym, demonstrate his versatility, as historian, essayist, biographer and fiction writer. His corpus pays testimony to his core principles, rooted in his rural upbringing: his restless humanitarianism and his deep veneration for the natural world. Set against an informed conspectus of Mitchell’s life and times and incorporating substantive new source material, this study provides a comprehensive and searching analysis of the canon of a combative writer whose fame in recent years – as cultural nationalist, left-wing libertarian, proto-feminist, neo-romantic visionary and trailblazing modernist – has carried far beyond his native land. In tune with the intellectual climate of the inter-war years, Gibbon emerges as a passionate advocate of revolutionary political activism; in addition, as a profound believer in the overarching primacy of nature, he is represented as a supreme practitioner in the field of ecofiction. Coupled with his modernist experimentation with language and narrative, this firmly establishes him amongst the foremost fiction writers of the twentieth century – uniquely, a figure whose achievement has consistently won both critical and popular acclaim.
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Maxwell, Catherine. Perfumed Melodies, Violet Memories. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0003.
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This chapter focuses on the fragrance of single flower—the violet—which although often associated with the modest Victorian maiden, has an alternative literary genealogy that links its scent not just to memory, death, mourning, and remembrance, but also specifically to music and poetry. After tracking its influential literary origins in Shakespeare and Bacon, the chapter shows how violet scent encrypts memories of Shelley and Keats that haunt the Victorian imagination, and traces that memorial scent as it permeates various later Victorian lyrics to be finally expressed in a sonnet of 1901 by Katharine Bradley, the older half of the poetic couple who write as Michael Field.
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The Dramatic Writer's Companion, Second Edition: Tools to Develop Characters, Cause Scenes, and Build Stories. University of Chicago Press, 2017.
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24
Lambert, Gregg. Meditation on the Animal and the Work of Art. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0013.
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This chapter explores the notion of “becoming-animal” as a process of “creating a relation to territory” in reference to the artist and the writer. For Deleuze, the animal has a privileged and very specific relation to the notions of territory and world, one that is based on a relative number of affects and on a process of selection (i.e., the extraction of singularities from a milieu or an environment [Umwelt]). The animal entertains a relation to its world that is produced in terms of a relation to distinctive territory, whereas the human is found to have a relation to world, but no proper territory of its own). However, for Deleuze, the writer and the artist are often described as beings who enter into a process of becoming where the subject loses its own proper identity as an individual or a human being and enters into a process that closely approximates the animal’s “captivation” by an environment, to employ Heidegger’s term, even though the artist or the writer produces a specific world by extracting lines, fragments, colors, visions or scenes from its external environment in order to compose a territory that is expressed by the work of art.
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Tolstoy, Leo, and Amy Mandelker. War and Peace. Translated by Louise and Aylmer Maude. Oxford University Press, 2010. http://dx.doi.org/10.1093/owc/9780199232765.001.0001.
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If life could write, it would write like Tolstoy.’ Isaac Babel Tolstoy’s epic masterpiece intertwines the lives of private and public individuals during the time of the Napoleonic wars and the French invasion of Russia. The fortunes of the Rostovs and the Bolkonskys, of Pierre, Natasha, and Andrei, are intimately connected with the national history that is played out in parallel with their lives. Balls and soirées alternate with councils of war and the machinations of statesmen and generals, scenes of violent battles with everyday human passions in a work whose extraordinary imaginative power has never been surpassed. The prodigious cast of characters, both great and small, seem to act and move as if connected by threads of destiny as the novel relentlessly questions ideas of free will, fate, and providence. Yet Tolstoy’s portrayal of marital relations and scenes of domesticity is as truthful and poignant as the grand themes that underlie them. In this revised and updated version of the definitive and highly acclaimed Maude translation, Tolstoy’s genius and the power of his prose are made newly available to the contemporary reader.
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Code Blue: A Writer's Guide to Hospitals, Including the ER, OR and ICU (Behind the Scenes). Writer's Digest Books, 1999.
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van der Vlies, Andrew. On Being Stuck. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793762.003.0002.
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This chapter considers J.M. Coetzee’s complex (and partly fictionalized) autobiographical project, Scenes from Provincial Life, comprised of Boyhood (1997), Youth (2002), and Summertime (2009), in which Coetzee dramatizes an-other self’s desire for the posture of the anti-political by staging a form of disaffection that refuses metropolitan expectation at the same time that it models itself on metropolitan explorations of the desire for artistic autonomy. Through close reading of the works, and reference across Coetzee’s oeuvre to his interest in the possibility of an Erasmian nonposition, the chapter canvasses theories of boredom, addresses questions of genre, and considers demands placed on writers in what Coetzee has called, with varying degrees of irony, the ‘provinces of history’. To this end, it considers the usefulness of reading alongside the Scenes an illuminating and hitherto unremarked intertext, Gregor von Rezzori’s Memoirs of an Anti-Semite.
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Saylor, Eric. Afterword. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041099.003.0007.
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The disparate approaches to English pastoralism considered within this book—whether evoking scenes and characters from classical poetry, depicting an imaginary past or a hoped-for future, responding to the landscape, commenting on contemporary social and political challenges, providing spiritual sustenance for the living, or eulogizing the dead—firmly banish outdated clichés of it as little more than folky-wolky roister-doistering. Instead, pastoralism stands revealed as a subtle and flexible expressive mode capable of transcending the circumstances and surroundings of its creation, conveyed by a distinctive and highly adaptable array of stylistic traits. But in the wake of Finzi’s death in 1956 and Vaughan Williams’s only two years later, English pastoral music fell into relative obscurity. Composers who had written pastoral works in previous decades (including Howells, Ireland, and Bliss) had either largely turned away from the idiom or limited it to certain smaller-scale or niche contexts (such as church music, in Howells’s case). Meanwhile, the rise of both a prominent British avant-garde musical movement during the later 1950s and an extraordinarily vital pop music scene in the following decade made it difficult for the older, less demonstrative pastoral style to hold the public or critical imagination....
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Gotman, Kélina. Obscuritas Antiquitatis. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0002.
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The German historian of medicine J. F. C. Hecker’s landmark essay ‘The Dancing Mania’ appeared in a definitive English edition at the same time as Charles Darwin’s On the Origin of Species (1859), a moment when fascination with antiquity was controversially at the forefront of modern science. Translations brought exotic literature into the mix, catapulting scenes of dancing into the purview of medical research. Attention to the genealogy or, after Diana Taylor and Michel Foucault, the scenes or scenarios, the archival repertoire, of choreomania’s discursive emergence, including the vicissitudes of writers’ institutional affiliations, new translations, a fashion for collecting, and practices of collage and montage, shows that sciences in the nineteenth century were more fluid than is often allowed. Cast as an ancient convulsive epidemic, ‘choreomania’ was articulated between the ‘two cultures’, science and literary art, as a medical curiosity and an archival find. Choreomania’s discursive history is thus found in the unlikeliest places: the medical anecdote, the footnote, the aside.
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Kells, Stuart. Australian pulps 1939–1959: You go high, we go low. La Trobe eBureau, 2021. http://dx.doi.org/10.26826/1012.
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Popular during the middle parts of the 20th century, pulp fiction novels and comics were produced in massive quantities by Australian publishers. Most were written by hacks and enthusiastic amateurs willing to sign contracts that demanded an incredibly high output of work. Pulp publications were cheaply made, formulaic and designed to be read quickly and then thrown away. Often noted for their lurid cover art and titillating titles, they satisfied an appetite for fast entertainment in the era before television. This book explores the pulp publishing scene in Australia from 1939 to 1959. It examines the circumstances that gave rise to this field of ‘low literature’; the major participants in it – publishers, authors and artists – and the different expressions of the pulp genre available to readers, including crime pulps, westerns, sci-fi, romance and ‘weird tales’. The book is vividly illustrated with covers from the author’s own collection of Australian pulp novelettes. It provides an introduction to an under-regarded and little known sphere of Australian publishing. It is a valuable record of the mostly overlooked Australian writers involved, and the distinctive conditions under which these cultural products were produced.
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Smollett, Tobias. The Expedition of Humphry Clinker. Edited by Lewis M. Knapp and Paul-Gabriel Boucé. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199538980.001.0001.
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William Thackeray called it “the most laughable story that has ever been written since the goodly art of novel-writing began.” As a group of travellers visit places in England and Scotland, they provide through satire and wit a vivid and detailed picture of the contemporary social and political scene.
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Hartman, Michelle. Canada. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.37.
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This chapter examines the development of the Arab Canadian novel, first by discussing the history of Arab immigration and the Canadian cultural and political landscape. It then considers the beginnings of Arabic fiction in Canada, focusing on Arab Canadian literary figures such as Sa‘d al-Khādim, along with early novels written in French and English. It also looks at playwrights who have written novels and discusses works with contemporary cultural politics as the main theme. The chapter reveals that Arab Canadians and Quebecois are actively involved in many literary, cultural, and activist scenes, as reflected in works that expose racism and the myths of official multiculturalism.
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Keckley, Elizabeth. Behind the Scenes: Or, Thirty Years a Slave, and Four Years in the White House (Schomburg Library of Nineteenth-Century Black Women Writers). Oxford University Press, USA, 1989.
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Maxwell, Catherine. Scent, the Body, and the Cosmopolitan Flaireur. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0005.
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This chapter focuses on the cosmopolitan flaireur, the sophisticated citizen of the world who relishes the fragrance of travel, represented by the historian and classicist John Addington Symonds and the journalist and critic Lafcadio Hearn, his junior by ten years. The smell of the human body is something that speaks intimately to the very nature of perfume, which references and alludes to corporeal odours as much as it camouflages them. Appreciators respectively of male and female body scents, both Symonds and Hearn write enthusiastically about the perfumes of the places they visit and the bodies they encounter there, but they are also keen consumers of the literature of other lands, both past and present, savoured by them for its release of distinctive male and female fragrances. This chapter focuses on the cosmopolitan flaireur, the sophisticated citizen of the world who relishes the fragrance of travel, represented by the historian and classicist John Addington Symonds and the journalist and critic Lafcadio Hearn, his junior by ten years. The smell of the human body is something that speaks intimately to the very nature of perfume, which references and alludes to corporeal odours as much as it camouflages them. Appreciators respectively of male and female body scents, both Symonds and Hearn write enthusiastically about the perfumes of the places they visit and the bodies they encounter there, but they are also keen consumers of the literature of other lands, both past and present, savoured by them for its release of distinctive male and female fragrances.
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Lundskaer-Nielsen, Miranda. Cameron Mackintosh. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.22.
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The biggest British musical theatre star to emerge in the 1980s and 1990s was arguably not a performer, director, or writer but a producer. Cameron Mackintosh is a unique figure within the contemporary theatre. In a commercial musical theatre environment that has increasingly moved towards producing by committee—with investors often taking a producer title and even having a creative voice—Mackintosh’s early financial success with Cats and Les Misérables has enabled him to exercise an unusual level of control over the projects that he produces. Drawing on published interviews, existing scholarship, and original personal interviews with his creative collaborators, this article explores Cameron Mackintosh’s creative and business influences and assesses his lasting impact on the global musical theatre scene.
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Whitehead, James. ‘On the Giddy Brink’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.003.0002.
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This chapter discusses the vicissitudes of creative madness, enthusiasm, and inspiration in the eighteenth century, in relation to writing by Alexander Pope and Jonathan Swift, whose satirical attacks damaged the viability of one side of the classical and Renaissance tradition. The chapter then discusses eighteenth-century ‘mad poets’ such as William Collins and William Cowper, and also Charlotte Smith, all of whom subsequently struggled to articulate formerly available ideas of creative madness. This tension is analysed through the discussion of mad poet figures as they appear in later eighteenth-century prospect poetry, in scenes of increasing mental precipitousness. The chapter concludes with a discussion of visual images of poetry and madness in these writers, Goya, and William Blake.
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Ramadan, Yasmine. Space in Modern Egyptian Fiction. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427647.001.0001.
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In 1960s Egypt a group of writers exploded onto the literary scene, transforming the aesthetic landscape. Space in Modern Egyptian Fiction argues that this literary generation presents a marked shift in the representation of rural, urban, and exilic space, reflecting a disappointment in the project of the postcolonial nation-state in post-revolutionary Egypt. If the countryside ceased to be the idealized space of the nation, neither the Cairene metropolis nor the city of Alexandria took its place. Moreover, the transgression of borders to an exilic space served to unsettle categories of national and regional belonging. At the heart of this book is an argument about the disappearance of an idealized nation in the Egyptian novel. It provides a full examination of the emergence and establishment of a group of the most significant writers in modern Egyptian literature across six decades, while also attending to the social, economic, political, and aesthetic changes during a pivotal moment in Egypt’s contemporary history.
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Whitehead, James. Madness Writing Poetry/ Poetry Writing Madness. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.003.0007.
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The final chapter returns to the scene of Romantic poetry, looking at poetry by William Blake, William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley, and John Clare. It reads these Romantic texts as poised articulations of the idea of poetic madness, and discusses generally how these writers contributed to, or interwove with their own lives and works, new and rediscovered mythologies of madness, sometimes anticipating or resisting the public images created by journalism, criticism, or biography, previously described. Finally, the Romantic mad poet is considered in relation to criticism and the canonical role of Romanticism in English literature.
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Wells, Stanley. 2. Theatre in Shakespeare’s time. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198718628.003.0002.
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Both drama and theatre were developing rapidly in Shakespeare’s early years. ‘Theatre in Shakespeare’s time’ explains how Shakespeare followed in the footsteps of the first great wave of stage writers known as the University Wits—John Lyly, Thomas Lodge, Christopher Marlowe, George Peele, Thomas Nashe, and Robert Greene—learning from them and collaborating with them. It describes the London theatrical scene, the playing spaces, and the actors of the time before outlining Shakespeare’s early career, the narrative poems that kept him afloat financially, and introducing the Lord Chamberlain’s, and later King’s Men, the acting company that formed in 1594.
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Epstein, Hugh. Hardy, Conrad and the Senses. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474449861.001.0001.
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The first book-length study of connections between these two major authors, this book reads the highly descriptive impressionist fiction of Hardy and Conrad together in the light of a shared attention to sight and sound. By proposing ‘scenic realism’ as a term to describe their affinities of epistemology and literary art, this study seeks to establish that the two novelists’ treatment of the senses in relation to the physically encompassing world creates a distinctive outward-looking pairing within the broader ‘inward turn’ of the realist novel. This ‘borderland of the senses’ was intensively investigated by a variety of nineteenth-century empiricists, and mid- and late-Victorian discussions in physics and physiology are seen to be the illuminating texts by which to gauge the acute qualities of attention shared by Hardy’s and Conrad’s fiction. In an argument that re-frames the ‘Victorian’ and ‘Modernist’ containers by which the writers have been conventionally separated, thirteen major works are analysed without flattening their differences and individuality, but within a broad ‘field-view’ of reality introduced by late-classical physics. With its focus on nature and the environment, Hardy, Conrad and the Senses displays the vivid delineations of humankind’s place in nature that are at the heart of both authors’ works.
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Cummings, Brian. Autobiography and the History of Reading. Edited by James Simpson and Brian Cummings. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199212484.013.0033.
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Autobiography as a concept asks deep questions about the periodization of history. It is also a scene of persistent rivalry in the construction of medieval and Renaissance models of history. Since Jakob Burckhardt’sDie Kultur der Renaissance in Italienof 1860, there has been a war of ownership over the rise of human subjectivity. This article examines the debate over the history of autobiography by focusing on St. Augustine and hisConfessions. It considers the exposure of theConfessionsto different kinds of reading during the late medieval period, including that by Petrarch. It argues that theConfessionshas been read more extensively in the twentieth century than ever before and that the Augustine of the “invention of subjectivity” is a writer of a specifically twentieth-century imagination. In this way it also assesses the impact of the Reformation on theConfessions.
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Patterson, Orlando. Freedom, Slavery, and Identity in Renaissance Florence. Edited by David Schmidtz and Carmen E. Pavel. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199989423.013.8.
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Renaissance Florence paid homage to the values and rights associated with freedom. It was governed by a body of citizens rather than by a prince, and Florentines did not take their right of self-government for granted. Indeed, Florentines treated freedom as both prerequisite and ultimate expression of virtue. Yet, somehow Florence also was the scene of a burgeoning of urban-domestic slavery. Was this simply a mismatch of rhetoric with sociological reality? This chapter explores the life and times of Leon Battista Alberti, author of the most penetrating exploration of the slavery-into-freedom dialectic of any modern Western writer. Because of his own life circumstances, including illegitimacy, Alberti was able to see the essence of the slave condition, and its dialectical relation to freedom, and express it cogently in his writings.
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Knowles, Sebastian D. G. At Fault. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056920.001.0001.
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At Fault: James Joyce and the Crisis of the Modern University argues that American universities have lost their way and that the works of James Joyce will put them back on the scent. In American university education today, an excess of caution has led to a serious error in our education system. To be “at fault” is to have lost one’s path: the university’s current crisis in confidence can be addressed by attending to the lessons that Joyce teaches us. Joyce models risk-taking in all three areas of the academic enterprise: research, teaching, and service. His texts go out of bounds, resisting the end, pushing beyond themselves. Joyce writes in an outlaw language, and the acknowledgment of failure is written into every right action. At stake is the enterprise of humanism: without an appreciation of error, and an understanding of infinite possibility, the university will calcify and lose its right to lead the nations of the world. The book draws upon the author’s thirty years of teaching experience to demonstrate what works in the classroom when teaching Joyce and makes a powerful contribution to debates on interdisciplinarity and university teaching. There are chapters on centrifugal motion, gramophones, elephants, fox-hunting, philately, brain mapping, and baseball: a compendium of approaches befitting the ever-expanding world of James Joyce.
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Bateman, Benjamin. Coda. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190676537.003.0007.
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This conclusion uses a single scene from Willa Cather’s novel The Professor’s House to link sexuality, pain, and the articulation of queer history. It argues that former student Tom Outland, a figure of queer survival’s simultaneous potency and precarity, ultimately teaches Professor Godfrey St. Peter how, by letting go, to love a man and write history. Outland demonstrates how the suffering inherent in queer survival is also the engine of queer narrativity, the means by which queer knowledge and embodiment get articulated and transmitted across generations without the support of traditional kinship circuits and reproductive technologies.
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How to Write a Romance: Or How to Write Witty Dialogue, Smoldering Love Scenes, and Well-Suited Characters in Impossible Situations Who, It Is a Truth Universally Acknowledged, Overcome Their Differences and Find Their Happily Ever After. HarperCollins Publishers, 2019.
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Cottrell, Anna. London Writing of the 1930s. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474425643.001.0001.
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Exploring London's literary identity during the 1930s Anna Cottrell shows how vital writing was to the capital’s booming leisure scene on the eve of the Second World War. The book explores London and Londoners, with a focus on the way in which London's lower-middle-class citizens became inseparable from central London’s leisure scene in the period’s imagination. In contrast with Modernism’s flâneurs and flâneuses, the key figures of 1930s London literature were shop girls, clerks, dance hostesses, and financially insecure journalists whose leisure hours were spent in London’s cinemas, bars, and glittering teashops. Writing about this type of Londoner and her milieus was at the heart of the decade’s experiments in revitalising the British novel, which to many of the period’s writers and intellectuals appeared to lack energy and authenticity. Meticulous description was central to this project of re-energising British writing, and it is in passages describing London milieus such as the teashop and the Soho nightclub that this book locates the decade’s most original and astute meditations on modernity, mass culture, and the value of ordinary lives.
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Harris, Ellen T. Ground Bass Techniques. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190271664.003.0006.
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The movements in Dido and Aeneas built over a ground (repeating) bass illustrate Purcell’s achievement in balancing repetitive patterning with asymmetrical phrase structure, thus transforming a common compositional artifice into artistic expression. In “Ah, Belinda,” he writes a declamation and an air over the same repeating bass pattern. In “Oft she visits,” the collapse of normalcy into destructive chaos depicted in the text is illustrated by the alteration he makes to the relationship between the repeating bass and the vocal line. Dido’s Lament is the most extensively constructed of these airs, the links to the preceding and following movements creating an extended scene depicting Dido’s dying moments.
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Omaswa, Francis, and Nigel Crisp. Introduction to Part 2: The greatest challenges. Oxford University Press, 2015. http://dx.doi.org/10.1093/med/9780198703327.003.0003.
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Chapter 3 describes the greatest challenges facing countries in sub-Saharan Africa. It highlights the Millennium Development Goals against the background of the whole range of issues that need to be confronted by health leaders. It sets the scene for two compelling chapters written by leaders in Uganda and Malawi about their country’s achievements. These are complemented by an authoritative account by Dr Luis Sambo, the WHO Regional Director, of the state of health and healthcare in Africa.
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Walshe, Eibhear. The Importance of Staging Oscar. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.15.
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Oscar Wilde was adopted as something like a posthumous writer in residence at the Gate Theatre in the 1930s, where all of his plays including the controversialSaloméwere produced. The identification between the theatre and the playwright was further strengthened by Micheál Mac Liammóir’s hugely successful one-man showThe Importance of Being Oscarin the 1960s, and again in the 1980s, under the directorship of Michael Colgan. This chapter considers key productions of Wilde at the Gate, particularly their sexual politics. It is argued that when Wilde was first produced at the Gate, his queer aesthetic had to be heavily coded; however, by the time of Stephen Berkoff’sSaloméin 1988, Wilde’s sexual politics could be staged more openly. More recently, however, with the emergence of an active gay theatre scene, the subversive charge of Wilde’s theatre has been somewhat eclipsed.
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Bielo, James S. Performing the Bible. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.36.
Full textAbstract:
This chapter explores the phenomenon of performing the Bible; that is, transforming the written words of scriptures into materialized, experiential environments. Throughout the United States, the Bible is performed as replicas and re-creations of particular and general biblical scenes, characters, and stories through registers of museum, theme park, and garden. Distinctive insights into key dynamics of religious materiality and American religious history can be gained by closely analyzing the cultural production of sites that perform the Bible. Ultimately, the chapter argues that performing the Bible is a strategy for actualizing a problem that animates any and every lived expression of Christianity.