Angelaki Humanities publishes works which address and probe broad and compelling issues in the theoretical humanities. The series favours path-breaking thought, promotes unjustly neglected figures, and grapples with established concerns. It believes in the possibility of blending, without compromise, the rigorous, the well-crafted, and the inventive. The series seeks to host ambitious writing from around the world.
Series editors: Charlie Blake, Pelagia Goulimari, Timothy S. Murphy, Robert Smith
General editor: Gerard Greenway
Beginnings is a series of books designed to give practical help to students beginning to tackle recent developments in English, Literary Studies and Cultural Studies. The books in the series:
- demonstrate and encourage a questioning engagement with the new
- give essential information about the context and history of each topic covered
- show how to develop a practice which is up-to-date and informed by theory
Each book focuses uncompromisingly upon the needs of its readers, who have the right to expect lucidity and clarity to be the distinctive feature of a book which includes the word ‘beginning’ in its title.
Each aims to lay a firm foundation of well understood initial principles as a basis for further study and is committed to explaining new aspects of the discipline without over-simplification, but in a manner appropriate to the needs of beginners.
Each book, finally, aims to be both an introduction and a contribution to the topic area it discusses.
Series editors: Peter Barry and John McLeod
Former series editor: Helen Carr
This innovative series reflects the breadth and diversity of writing over the last thirty years, and provides critical evaluations of established, emerging and critically neglected writers – mixing the canonical with the unexpected. It explores notions of the contemporary and analyses current and developing modes of representation with a focus on individual writers and their work. The challenge of defining the roles of writers and assessing their reception by reading communities is central to the aims of the series. Overall, Contemporary American and Canadian Writers aims to begin to represent something of the diversity of contemporary writing and seeks to engage students and scholars in stimulating debates about the contemporary and about fiction.
Series editors: Nahem Yousaf and Sharon Monteith
Contemporary British Novelists offers readers critical introductions to some of the most exciting and challenging writing of recent years. Through detailed analysis of their work, volumes in the series present lucid interpretations of authors who have sought to capture the sensibilities of the late twentieth and twenty-first centuries. Informed, but not dominated, by critical theory, Contemporary British Novelists explores the influence of diverse traditions, histories and cultures on prose fiction, and situates key figures within their relevant social, political, artistic and historical contexts.
Series editor: Daniel Lea
Series editor: John Thieme
Series editor: Mike Thompson
Critical editions of key Spanish language texts, with introduction, notes and vocabulary in English.
Key titles: La casa de Bernada Alba – Lorca (edited by Herbert Ramsden) Bodas de Sangre - Lorca (edited by Herbert Ramsden) Requiem por un Campesino espanol Ramon J Sender (edited by Patricia McDermott).
Series editor: Catherine Davies
Each volume in this series contains new essays on the many forms assumed by – as well as the most important themes in – the ever-expanding range of international ‘Gothic’ fictions from the eighteenth to the twenty-first century. Launched by leading members of the International Gothic Association (IGA) and some editors and advisory board members of its journal, Gothic Studies, this series thus offers cutting-edge analyses of the great many variations in the Gothic mode over time and all over the world, whether these have occurred in literature, film, theatre, art, several forms of cybernetic media, or other manifestations ranging from ‘Goth’ group identities to avant garde displays of aesthetic and even political critique.
Series editors: Elisabeth Bronfen, Steven Bruhm, Ken Gelder, Jerrold E. Hogle, Avril Horner, William Hughes
Interventions: Rethinking the Nineteenth Century seeks to make a significant intervention into the critical narratives that dominate conventional and established understandings of nineteenth-century literature. Informed by the latest developments in criticism and theory the series provides a focus for how texts from the long nineteenth century, and more recent adaptations of them, revitalise our knowledge of and engagement with the period. It explores the radical possibilities offered by new methods, unexplored contexts and neglected authors and texts to re-map the literary-cultural landscape of the period and rigorously re-imagine its geographical and historical parameters. The series includes monographs, edited collections, and scholarly sourcebooks.
Series editors: Anna Barton and Andrew Smith
Editorial board: David Amigoni, Isobel Armstrong, Philip Holden, Jerome McGann, Joanne Wilkes and Julia M. Wright
Manchester Medieval Literature and Culture publishes monographs and essay collections comprising new research informed by current critical methodologies on the literary cultures of the Middle Ages. It is interested in all periods, from the early Middle Ages through to the late, and includes post-medieval engagements with and representations of the medieval period (or ‘medievalism’). ‘Literature’ is taken in a broad sense, to include the many different medieval genres: imaginative, historical, political, scientific, religious. Contributions are welcome on the diverse cultures of medieval Britain, including submissions on Anglo-Norman, Anglo-Latin and Celtic writings, and on the Middle Ages in Europe more widely, and beyond.
General Editors: Anke Bernau, David Matthews and James Paz, University of Manchester
Editorial Board: Ruth Evans, Patricia C. Ingham, Andrew James Johnston, Chris Jones, Catherine Karkov, Nicola McDonald, Sarah Salih, Larry Scanlon and Stephanie Trigg
‘The Revels Plays have a earned a well-deserved reputation for producing exemplary critical editions of non-Shakespearean plays, prepared according to high scholarly standards and aimed at an audience of advanced students and literary professionals.’
Professor Bruce Boehrer, SEL (Studies in English Literature, 1500-1900)
Clifford Leech conceived of the Revels Plays as a series in the mid-1950s, modelling the project on the New Arden Shakespeare. The aim, as he wrote in 1958, was “to apply to Shakespeare’s predecessors, contemporaries and successors the methods that are now used in Shakespeare’s editing”. The plays chosen were to include well-known works from the early Tudor period to about 1700. He set the high standards of the series, ensuring that editors of individual volumes produced work of lasting merit, equally useful for teachers and students, theatre directors and actors.
General Editors: David Bevington, Richard Dutton, Alison Findlay, Helen Ostovich and Martin White
Former General Editors: Clifford Leech, F. David Hoeniger, E. A. J. Honigmann and Eugene M. Waith
For over fifty years The Revels Plays has provided for students of the English Renaissance drama carefully edited texts of the major Elizabethan and Jacobean plays. The Revels Plays Companion Library is intended to further this expansion and to allow for new developments.
The aim of the Companion Library is to provide students of the Elizabethan and Jacobean drama with a fuller sense of its background and context. The series includes volumes of a variety of kinds. Small collections of plays, by a single author or concerned with a single theme and edited in accordance with the principles of textual modernisation of The Revels Plays, offer a wider range of drama than the main series can include. Together with editions of masques, pageants and the non-dramatic work of Elizabethan and Jacobean playwrights, these volumes make it possible, within the overall Revels enterprise, to examine the achievements of the major dramatists from a broader perspective.
Series editors: Susan Brock, Susan Cerasano, Paul Edmondson and Grace Ioppolo
Based on the highly respected Revels Plays, which provide a wide range of scholarly critical editions of plays by Shakespeare’s contemporaries, the Revels Student Editions offer readable and competitively priced introductions, text and commentary designed to distil the erudition and insights of the Revels Plays, while focusing on matters of clarity and interpretation. These editions are aimed at undergraduates, graduate teachers of Renaissance drama and all those who enjoy the vitality and humour of one of the world’s greatest periods of drama.
Series editor: David Bevington
Founding editor: J. R. Mulryne
General editors: James C. Bulman, Carol Chillington Rutter
Anthony Burgess (1917–1993) was one of the most prominent novelists and critics of the twentieth century, but for many years much of his work has been unavailable. A graduate of Manchester University, he wrote thirty-three novels, twenty-five works of non-fiction, and two volumes of autobiography. Pursuing a parallel career as a classical composer, he wrote a symphony, a piano concerto, a violin concerto for Yehudi Menuhin, and more than 250 other musical works.
The Irwell Edition of the Works of Anthony Burgess is the first scholarly edition of Burgess’s novels and non-fiction works. One of its purposes is to restore ‘lost’ novels to the canon of available work. The edition will include stage plays, musical libretti, letters and essays.
The Irwell Edition takes its title from a collected edition outlined by Anthony Burgess himself in the 1980s but never achieved during his lifetime. Each volume is edited by an expert scholar, presenting an authoritative annotated text alongside an introduction detailing the genesis and composition of the work, and the history of its reception. The appendices will make available previously unpublished documents from the Anthony Burgess archives held at institutional libraries in Europe and North America, in addition to rare and out-of-print materials relating to Burgess’s writing.
The Irwell Edition is designed for students, teachers, scholars and general readers who are seeking accessible but rigorous critical editions of each book. The series as a whole will contribute to the ongoing task of encouraging renewed interest in all aspects of Anthony Burgess’s creative work.
The Manchester Spenser is a monograph and text series devoted to historical and textual approaches to Edmund Spenser – to his life, times, places, works and contemporaries.
A growing body of work in Spenser and Renaissance studies, fresh with confidence and curiosity and based on solid historical research, is being written in response to a general sense that our ability to interpret texts is becoming limited without the excavation of further knowledge. So the importance of research in nearby disciplines is quickly being recognised, and interest renewed: history, archaeology, religious or theological history, book history, translation, lexicography, commentary and glossary – these require treatment for and by students of Spenser.
The Manchester Spenser, to feed, foster and build on these refreshed attitudes, aims to publish reference tools, critical, historical, biographical and archaeological monographs on or related to Spenser, from several disciplines, and to publish editions of primary sources and classroom texts of a more wide-ranging scope.
The Manchester Spenser consists of work with stamina, high standards of scholarship and research, adroit handling of evidence, rigour of argument, exposition and documentation.
The series will encourage and assist research into, and develop the readership of, one of the richest and most complex writers of the Early Modern period.
General Editors: Joshua Reid, Kathryn Walls and Tamsin Badcoe
Editorial Board: Sukanta Chaudhuri, Helen Cooper, Thomas Herron, J. B. Lethbridge, James Nohrnberg and Brian Vickers
This series offers a space for those people who practise theatre to have a dialogue with those who think and write about it. The series has a flexible format that refocuses the analysis and documentation of performance. It provides, presents and represents material which is written by those who make or create performance history, and offers access to theatre documents, different methodologies and approaches to the art of making theatre.
The books in the series are aimed at students, scholars, practitioners and theatre-visiting readers. They encourage reassessments of periods, companies and figures in twentieth-century and twenty-first-century theatre history, and provoke and take up discussions of cultural strategies and legacies that recognise the heterogeneity of performance studies.
The series editors, with the advisory board, aim to publish innovative challenging and exploratory texts from practitioners, theorists and critics.
Series editors: Maria M. Delgado, Maggie Gale and Peter Lichtenfels
This series, Women, Theatre and Performance, has its origins in the work of a number of feminist theatre academics from the 1980s and 1990s – a period when interest burgeoned in the part that women have played in theatre over the centuries. That interest was in its turn the daughter of the ‘Second Wave’ women’s movement, the women’s theatre movement and the women’s history movement from the previous two decades. It was with some delight that women theatre workers, spectators and scholars alike discovered that women did have a significant history in performance, and these women – and some men – have continued to investigate, interrogate and work with their histories. Feminist performance analysis and women’s theatre history has now become an established part of performance practice and theatre studies at both a university and a more popular level.
In the 1990s, the journal Women and Theatre Occasional Papers became the host for the documentation and dissemination of contemporary research and innovation in theatre practice and scholarship in Britain. The emphasis on history and historiography was a considered decision. It was felt that at that time no consistent outlet existed for all the work that carried on the feminist retrieval project of the 1980s which was emerging from theatre and drama departments in Britain and elsewhere. This emphasis on history did not – and does not– preclude engagement with contemporary practice. On the contrary, it was felt that our history was very much part of our present and that the two could, and should, be studied side by side.
This series seeks to continue that original project and to make the research and debate available on a more than ‘occasional’ basis. The series consists of themed volumes that consider theatre as part of a wider nexus of social and cultural practices. Women’s contribution to all areas and types of theatre and performance will be included, from opera and acrobatics to management and dramaturgy.
Series editors: Maggie B. Gale and Viv Gardner