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Concept, text and culture

Sustainability is a notoriously fraught and slippery term, and yet one that is now well-established in mainstream usage across the contemporary world. While sustainability is widely discussed and theorised across range of disciplines, this book sets out to consider what innovations literary scholarship might bring to the sustainability debate, and indeed what sustainability as a concept might bring to literary scholarship. Putting forward a range of essays by leading and upcoming scholars, this book takes a non-prescriptive and critically reflective stance towards the problem of sustainability – a stance we describe as critical sustainability. Essays in this collection accordingly undertake a range of approaches, from applying tools of literary enquiry in order to interrogate sustainability’s paradoxes, to investigating the ways in which literature envisages sustainability or plays out its tropes. Overall, this book seeks to demonstrate how sustainability’s difficulties might open up a productive opportunity for interrogation and exploration of the kind that literary scholars and ecocritics are ideally placed to carry out.

Open Access (free)
Incest and beyond
Jenny DiPlacidi

. Catherine Spooner, Contemporary Gothic ( 2006 ) 1 This book has sought to bring to light the variety of incestuous configurations in the Gothic. In order to do this, I have relied not only on existing literary scholarship, but also on a broad methodological approach that includes anthropological, political, philosophical, legal and

in Gothic incest
Open Access (free)
Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

almost exclusively as the rape of girls by older male family members. 37 That such formations of this incest paradigm coincided with feminist criticism’s reclamation of the Female Gothic in the 1970s undoubtedly determined literary scholarship to read incest in the Gothic as representative of violent sexual aggression. 38 Seminal works on the Female Gothic by scholars such as Ellen

in Gothic incest
Open Access (free)
Rachel E. Hile

pursuit becomes self-serving, a pointless exercise in scholarly ingenuity” (Dunseath, Spenser’s Allegory, 6). Surely he was reacting, entirely consistently with New Critical scholarly fashion, against the worst excesses of what came to be known—once the New Historicism had been born—as the “old historicism,” the often entirely too ingenious searching after point-for-point correspondences between MUP_Hile_SpenserSatire_Printer.indd 1 14/10/2016 15:35 2 Spenserian satire poem and history. The approach characterized literary scholarship of the early twentieth century

in Spenserian satire
Open Access (free)
Simon Smith, Jackie Watson and Amy Kenny

impact of musical performance, printed drama, theoretical writings, domestic objects, visual art and dance. As a result, although literary examples are still most frequent, we broaden the range of conclusions we can draw about early modern sensual engagement by drawing on cultural experiences, such as dance, which generate a number of simultaneous sensations. Further, the collection’s dramatic and poetic material ranges deliberately wide, not least in order to avoid the tendency in some recent literary scholarship to lionize Shakespearean material. MUP

in The senses in early modern England, 1558–1660
The sense of an ending in Jeanette Winterson’s The Stone Gods
Adeline Johns-Putra

, it represents openness in terms of plot and practises openness in terms of structure; for another, it makes explicit comments throughout on the illusory nature of conventional narrative continuity and closure. The yoking of narrative closure with social convention is not new, of course. Literary scholarship abounds with analyses that sometimes celebrate and sometimes critique our desire for plot resolution. The germinal text here is Frank Kermode’s Sense of an Ending, which first appeared in 1967. According to Kermode, we render human existence and time significant

in Literature and sustainability
Chloe Porter

. in Divinity, and Late Dean of Saint Pauls Church London (London: printed by J. G. for R. Marriot, 1658 ), pp. 111–13; see also Helen Gardner, ‘Dean Donne’s Monument in St Paul’s’, in René Wellek and Alvaro Ribeiro (eds), Evidence in Literary Scholarship (Oxford: Clarendon Press, 1979 ), pp. 29–44. Llewellyn does not question Walton’s account, Funeral Monuments , p. 235

in Making and unmaking in early modern English drama
The Show from street to print
Tracey Hill

ascertain, what the relationship of the printed text to the actual event tended to be.5 These mostly unanswered – even largely unasked – questions reflect another important aspect of the Shows where scholarship has let us down. Even Peter Blayney excludes ‘all masques, pageants and entertainments’ from his account of printed playbooks, on the basis that the former were not really plays.6 Blayney’s view, which is not atypical, is part of the problem, for as hybrid cultural productions the Shows do not fit neatly into any of the categories habitually used within literary

in Pageantry and power
Father– daughter incest and the economics of exchange
Jenny DiPlacidi

female sexuality and incest that find their way into literary scholarship on the Gothic. 14 Even scholars who seek to displace Freudian models of sexual desire sometimes return to the Freudian paradigms that are so entrenched in literary analyses of incest and sexuality more generally. 15 Julie Shaffer, for example, argues first that ‘by situating explicit incestuous lust

in Gothic incest
Open Access (free)
Cousins and the changing status of family
Jenny DiPlacidi

economy and their application to literary scholarship on eighteenth-century texts in Women’s Work: Labour, Gender, Authorship, 1750–1830 (Manchester: Manchester University Press, 2010), pp. 44–58. 32 Perry, p. 234. 33

in Gothic incest