In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
Volume II contains Browning’s play, Strafford: An Historical Tragedy (1837), and the long poem, Sordello (1840). Strafford was Browning’s first play, based on the tragic life of Thomas Wentworth, Earl of Strafford. The editors note that the play had only four performances, “undoubtedly due… to its esoteric subject and bad acting.” Sordello is a fictionalized version of the life of Sordello da Goito, a 13th century Italian troubadour. The poem itself was famously known for being “difficult.”
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
Volume III contains Browning’s dramatic piece, Pippa Passes (1841), which Arthur Symons said was “Browning’s most perfect work”; another play King Victor and King Charles; A Tragedy, which Browning described as “the first artistic consequence of what Voltaire termed ‘a terrible event without consequences‘“; the “Essay on Chatterton,” which appeared anonymously in the Foreign Quarterly Review in July, 1842; the play The Return of the Druses: A Tragedy (1843); and the short pieces of Dramatic Lyrics, which contain some of Browning’s finest and most popular works such as “My Last Duchess,” “The Soliloquy of the Spanish Cloister,” and “The Pied Piper of Hamelin.”
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
Volume V contains:
A Soul’s Tragedy
Poems
Christmas-Eve and Easter Day
Essay on Shelley
Men and Women, Vol. I
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
The sixth in the projected seventeen-volume work, this volume covers the second half of Men and Women (1855), perhaps Browning’s most famous collection, and the entirety of Dramatis Personae (1864), the first book Browning produced after the death of Elizabeth Barrett Browning in 1861.
Men and Women II contains several great dramatic poems on which Browning’s reputation still depends, including “Andrea del Sarto,” “Saul,” and “Cleon.” It also includes the more intimate and personal works “The Guardian Angel” and “One Word More,” as well as the mysterious “Women and Roses.” The Brownings‘ shared interests in Renaissance art and nineteenth-century Italian politics inform the challenging “Old Pictures in Florence.”
The publication of Dramatis Personae was a key event in the rapid rise of Browning’s fame in the 1860s, though the collection is marked by a welter of conflicting impulses that arose after the poet left Italy and his married life behind. The classic monologues “Rabbi Ben Ezra” and “Abt Vogler” are here, but beside them Browning placed the nearly surreal “Caliban upon Setebos” and the achingly self-regarding “James Lee’s Wife,” one of the volume’s handful of dramatic lyrics about betrayed or failed relationships. Also included are “A Death in the Desert,” which contributed to the intense Victorian debate about scriptural validity and religious authority; and “Mr Sludge, ’The Medium,‘” Browning’s ferocious, pyrotechnic exposé of a spiritualist fraud.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
The first complete edition of the works of Robert Browning with variant readings and annotations contains: 1. The entire contents of the first editions of Browning’s work; 2. All prefaces and dedications which Browning wrote for his own works and for those of Elizabeth Barrett Browning and others; 3. The two prose essays: The Essay on Chatterton and The Essay on Shelley; 4. The front matter and tables of contents of each of the collected editions (1849, 1863, 1865, 1868, 1888–1889) which Browning himself saw through the press; 5 Poems by Browning published during his lifetime but not collected by him; 9. Poems not published during Browning’s lifetime which have come to light since his death; 7. John Forster’s Thomas Wentworth, Earl of Strafford to which Browning contributed significantly, though to what precise extent has not been determined.
The edition provides a full apparatus, including variant readings and annotations.
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
Volume XI of The Complete Works of Robert Browning contains two strikingly disparate long poems from the 1870s, Fifine at the Fair and Red Cotton Night-Cap Country. In Fifine at the Fair, Browning creates an idiosyncratic version of the Don Juan figure, a distinctly post-Romantic and intellectual Don Juan who derives little from any literary predecessor. The legendary character is realized in a modern French setting, the village of Pornic, a favorite vacation spot for Browning. The poem is a sustained exercise in self-justification and casuistry, with Don Juan persuading himself that he can reconcile his love of his wife with his carnal love for a gipsy girl.
Though Red Cotton Night-Cap Country is similarly concerned with a struggle between spirit and flesh, the poem is entirely based in contemporary events. Using newspaper accounts and legal documents, Browning tells the strange and shocking tale of a rich and devout Frenchman who throws himself from the roof of his chateau, convinced that heaven will deliver him from death. Upon the question of his sanity hinges the disposition of his considerable estate, and the poet traces the claims and counterclaims to their settlement in court only a few months before he wrote the poem.
As always in this series of critical editions, a complete record of textual variants is provided, as well as extensive explanatory notes.
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
Volume XIV of The Complete Works of Robert Browning records a transition in the poet’s career. With The Agamemnon of Aeschylus (1877), Browning ended his experiments with classical sources, creating his “transcript” — not quite a translation — of the Greek original and providing an intriguing explanation for his approach. La Saisiaz, the deeply personal expression of Browning’s shock at the sudden death of a dear friend, was published in 1878 with The Two Poets of Croisic, an extended ironic meditation on literary fame. Browning’s collection of six poems under the title Dramatic Idyls (1879) marks the poet’s return to the dramatic forms he perfected in Men and Women and Dramatis Personae, and a revival of his interest in the psychology of motives.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
Robert Browning wrote Parleyings with Certain People of Importance in Their Day in his seventy-third year. The work is a capstone to the poet’s long career, encompassing autobiography as well as influences bearing on the poet’s life and career and on Victorian thought and culture in general. One of Browning’s most complex works, Parleyings is also a work essential to understanding his genius and career as a whole. The Ohio/Baylor Browning edition offers keys to the complexity and interest of Parleyings through a definitive, emended text, full annotations for allusions both explicit and implicit in the text, and variant readings for the manuscript and all editions revised by Browning during his lifetime.
In form and structure, Parleyings is a series of seven poems written in Browning’s own voice and addressed to figures influential in his development. The series is framed by a prologue and an epilogue, the whole amounting to some 3,500 lines. The poems are a formal contrast and a pendant to the great series of linked dramatic monologues in The Ring and the Book. They demonstrate the zest for innovation possessed by the master of the dramatic monologue in his ripe maturity. Interested readers as well as students and scholars of Browning will find a rich field of poetry and a critical mass of resources in Volume XVI of the Ohio/Baylor Browning edition.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
The similarities between the letters and the poems makes the typical concordance search for the poet's thematically significant words and biographical references particularly relevant. Tracing Dickinson's thoughts through her correspondence complements the ideas within her poetry and thus provides a more comprehensive insight into the poet's personal and artistic development. The concordance will facilitate an understanding of words or concepts that may be obscure in the poetry by itself. Research into Dickinson's problematic style, characterized by gaps, disjunctions, and ellipses, will be greatly enhanced.
By listing Dickinson's words together with their contexts and frequencies, the concordance provides the scholar with the ability to answer confidently questions of a statistical or stylistic nature. Finally, one of the most important functions of this concordance is to provide scholar, student, and general reader alike with endless opportunities to make exciting and unexpected discoveries by way of browsing.
Gerald Monsman in this study abandons the customary chronological approach to Lamb's life in favor of a more incisive, open-ended discussion of the Elia essays. By a close textual examination of Lamb's language, he relates the essayist's use of symbol and autobiographical concerns. Monsman contends and demonstrates that "as sharply and as pertinently as any artistic voice, Elia, the most celebrated persona in the nineteenth century, focuses the problems inherent in the modern literary imagination." Elia's "textual identity is a function of the author's actual life, of losses and imperfections artistically utilized and harmonized, employed against themselves to produce the rehabilitating symbol."
In 1907, in a quiet English village, Theodora Bosanquet answered Henry James’s call for someone to transcribe his edits and additions to his formidable body of work. The aging James had agreed to revise his novels and tales into the twenty-four-volume New York Edition. Enter Bosanquet, a budding writer who would record the dictated revisions and the prefaces that would become a lynchpin of his legacy.
Embracing the role of amanuensis and creative counterpoint cautiously at first, Bosanquet kept a daily diary over the nine years that she worked with James, as their extraordinary partnership evolved. Bosanquet became the first audience for James’s compositions and his closest literary associate—and their relationship ultimately resulted in James’s famed “deathbed dictations.” At the same time, the homosexuality of each was an unspoken but important influence on their mutual support and companionship.
Susan Herron Sibbet’s posthumous novel gifts us with the voice of a young woman writer drawn into the intimate circle of an aging master, and is a moving addition to previous literary treatments of James and Bosanquet, even as it hews closer to fact than other works do. The Constant Listener is itself the work of an accomplished poet, and will speak to fans of James, historical fiction, and themes of art, love, sexuality, and identity.
A collection of essays and stories written in Spanish by students for students.
Contar Historias: Escritura creativa en el aula es una colección de ensayos e historias de no ficción escritas por estudiantes de grado y pregrado que tomaron cursos y/o asistieron a talleres de escritura impartidos el Departamento de Español y Portugués en la Universidad de Texas en Austin. El libro es una muestra del trabajo creativo de estudiantes que hablan español en casa pero que nunca escribieron un texto creativo en esta lengua; estudiantes para quienes el español es su segunda, tercera e incluso cuarta lengua, y estudiantes para quienes es su lengua materna. La diversidad de voces y la amplia raigambre cultural, lingüística y geográfica de la que emergen se juntan en este volumen que refleja la multiplicidad de maneras en que el español apela a las nuevas generaciones de estudiantes, no solo en UT sino en todo el país.
Contar historias: Escritura creativa en el aula (Telling Stories: Creative Writing in the Classroom) is a remarkable collection of topical essays and poignant stories written by undergraduate and graduate students who took courses and/or writing workshops offered by the Spanish Creative Writing Initiative in the Department of Spanish and Portuguese at the University of Texas at Austin. The book showcases an abundance of amazingly creative work and includes heritage speakers who have never before written a creative work in Spanish; students for whom Spanish is a second, third, and even fourth language; and native speakers. The diversity of voices from an array of cultural, linguistic, and geographical backgrounds collected in this volume reflects the multiplicity of ways in which Spanish appeals to students, not just at UT, but everywhere.
The stories include—but are not limited to—intimate tales of attending college; personal testimonials on the effects of climate change, experiences navigating the US health system, and accounts of many beautiful memories from childhood. They reveal the moving and diverse ways of communicating in Spanish and are themselves potent arguments for the importance of using creativity, working collaboratively, and telling stories in the classroom.
This volume collects some of the best short fiction from the six Spanish-speaking countries of Central America—Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica, and Panama. Selected from stories written between 1963 and 1988, it is a broad representation of active Central American writers.
Many of the stories are quite sophisticated and utilize elements of the absurd or techniques of magical realism. Some stories deal with war—the unending struggle against dictators and military power that engrosses Central Americans. Others explore the realm of the writer's imagination. Some of the writers included are Augusto Monterroso (Guatemala), Carmen Naranjo and Samuel Rovinski (Costa Rica), Rosa María Britton and Jaime García Saucedo (Panama), and Alfonso Quijada Urías (El Salvador).
The Continental Model was first published in 1960. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The pervasive influence of seventeenth-century French criticism upon eighteenth-century English criticism makes it important for students of English and comparative literature to be familiar with the most important of the French works. Professors Elledge and Schier bring together here, in translation, some of the best examples of the French essays. They have chosen particularly works that are not otherwise available in translation.
Some of the translations are by contemporaries of the period. These are of works by d'Aubignac, Saint-Evremond, Huet, Rapin, Le Bossu, Bouhours, La Bruyere, and Fontenelle. Other selections have been translated by Professor Schier, and these include works of Chapelain, Sarasin, Scudery, Corneille, Bouhours, and Fontenelle.
The editors provide brief and pertinent comment on each writer and his place in literary history. They have also annotated the essays in order to save time for the reader who encounters references to other literatures not immediately clear to him. The volume as a whole provides a comprehensive and balanced selection of critical texts which were known to, used by, and significant in their influence upon writers such as Dryden, Dennis, Addison, Swift, Pope, and others.
These thirteen original essays were written specifically for the Third J. Lloyd Eaton Conference on Science Fiction and Fantasy Literature, held February 21–22, 1981, at the University of California, Riverside.
Leslie Fiedler sets the tone of this volume by fixing a basic set of coordinates—that of “elitist” and “popular” standards.
Those replying to his charge are: Eric S. Rabkin, Professor of English at the University of Michigan and author of The Fantasticin Literature, “The Descent of Fantasy”; Gerald Prince, Professor of French at the University of Pennsylvania, “How New is New?”; Mark Rose, Professor of English at the University of California at Santa Barbara, author of Alien Encounters, “Jules Verne: Journey to the Center of Science Fiction”; Joseph Lenz, who teaches English Literature at the University of Michigan, “Manifest Destiny: Science Fiction Epic and Classical Forms”; Michelle Massé, of the English Department at the George Mason University, “‘All you have to do is know what you want’: Individual Expectations in Triton”;Gary K. Wolfe, who teaches English at Roosevelt University, author of The Known and the Unknown, “Autoplastic and Alloplastic Adaptations in Science Fiction: ‘Waldo’ and ‘Desertion’”; Robert Hunt, an editor with Glencoe Press, “Science Fiction for the Age of Inflation: Reading Atlas Shrugged in the 1980s”; George R. Guffey, Professor of English at UCLA, “Fahrenheit 451and the ‘Cubby-Hole Editors’ of Ballantine Books”; H. Bruce Franklin, Professor of English and American Literature at Rutgers University at Newark, “America as Science Fiction: 1939”; Sandra M. Gilbert, Professor of English at the University of California at Davis, and coauthor with Susan Gubar of Madwoman in the Attic, “Rider Haggard’s Heart of Darkness”; the aforementioned Susan Gubar, Professor of English at Indiana University, “She in Her/and: Feminism as Fantasy”; and George R. Slusser, Curator of the Eaton Collection, “Death and the Mirror: Existential Fantasy.”
Collected here for the first time in English are their letters written between 1948 and 1961. Their correspondence forms a moving testimony of the discourse of love in the age after Auschwitz, with all the symptomatic disturbances and crises caused by their conflicting backgrounds and their hard-to-reconcile designs for living—as a woman, as a man, as writers. In addition to the almost 200 letters, the volume includes an important exchange between Bachmann and Gisèle Celan-Lestrange, who married Celan in 1951, as well as the letters between Paul Celan and Swiss writer Max Frisch.
“Scarcely more breathlessly and desperately can two lovers ever have struggled for words. Little known among German literary historians, the relationship between these two poets amounts to one of the most dramatic and momentous occurrences in German literature.”—FAZ, on the German edition
Between the years 1643 and 1649, Princess Elisabeth of Bohemia (1618–80) and René Descartes (1596–1650) exchanged fifty-eight letters—thirty-two from Descartes and twenty-six from Elisabeth. Their correspondence contains the only known extant philosophical writings by Elisabeth, revealing her mastery of metaphysics, analytic geometry, and moral philosophy, as well as her keen interest in natural philosophy. The letters are essential reading for anyone interested in Descartes’s philosophy, in particular his account of the human being as a union of mind and body, as well as his ethics. They also provide a unique insight into the character of their authors and the way ideas develop through intellectual collaboration.
Philosophers have long been familiar with Descartes’s side of the correspondence. Now Elisabeth’s letters—never before available in translation in their entirety—emerge this volume, adding much-needed context and depth both to Descartes’s ideas and the legacy of the princess. Lisa Shapiro’s annotated edition—which also includes Elisabeth’s correspondence with the Quakers William Penn and Robert Barclay—will be heralded by students of philosophy, feminist theorists, and historians of the early modern period.
Letters of an imperial tutor.
The literary remains of the rhetorician Marcus Cornelius Fronto (ca. AD 100–176) first came to light in 1815, when Cardinal Mai, then prefect of the Ambrosian Library in Milan, discovered that beneath an account of the Acts of the first Council of Chalcedon in 451 had originally been written a copy of the correspondence between Fronto and members of the imperial family, including no less than three who were to wear the purple. The letters possess an extraordinary fascination as giving an authentic record of the relationship between the foremost teacher of his time and his illustrious student Marcus Aurelius, his chief correspondent. Apart from small-talk (but even that is replete with interest) the principal subject is Latin prose style. Fronto practices to excess the cultivation of trendy mannerisms, but sees clearly enough the sterility of a slavish imitation of classical models.
The Loeb Classical Library edition of Fronto is in two volumes.
Letters of an imperial tutor.
The literary remains of the rhetorician Marcus Cornelius Fronto (ca. AD 100–176) first came to light in 1815, when Cardinal Mai, then prefect of the Ambrosian Library in Milan, discovered that beneath an account of the Acts of the first Council of Chalcedon in 451 had originally been written a copy of the correspondence between Fronto and members of the imperial family, including no less than three who were to wear the purple. The letters possess an extraordinary fascination as giving an authentic record of the relationship between the foremost teacher of his time and his illustrious student Marcus Aurelius, his chief correspondent. Apart from small-talk (but even that is replete with interest) the principal subject is Latin prose style. Fronto practices to excess the cultivation of trendy mannerisms, but sees clearly enough the sterility of a slavish imitation of classical models.
The Loeb Classical Library edition of Fronto is in two volumes.
Crete and James is a collection of letters exchanged by James A. Garfield and Lucretia Randolph Garfield during the mid-nineteenth century. Of the 1,200 or so letters written, the 300 included this work chronicle their courtship and marriage, and also discuss the Civil War, political affairs, and the details of daily life during the years 1853-1881. In them, we watch Crete grow from a shy girl into a self-confident woman who guides her husband in social and political matters. Through James’s flamboyant yet scholarly style, and Lucretia’s detailed, perceptive insights, we come to know them as though they were our close friends. Through their correspondence, the reader also meets the many people involved in their lives. Crete and James will be of great interest to those studying women’s history.
Ilan Stavans has been a lightning rod for cultural discussion and criticism his entire career. In A Critic's Journey, he takes on his own Jewish and Hispanic upbringing with an autobiographical focus and his typical flair with words, exploring the relationship between the two cultures from his own and also from others' experiences.
Stavans has been hailed as a voice for Latino culture thanks to his Hispanic upbringing, but as a Jew and a Caucasian, he's also an outsider to that culture---something that's sharpened his perspective (and some of his critics' swords). In this book of essays, he looks at the creative process from that point of view, exploring everything from the translation of Don Quixote to the Hispanic anti-Semitism and the Holocaust in Latin America.
Ilan Stavans is Lewis-Sebring Professor in Latin American and Latino Culture and Five College Fortieth Anniversary Professor at Amherst College. A native of Mexico, he received his doctorate in Latin American Literature from Columbia University. Stavans's books include The Hispanic Condition, On Borrowed Words, Spanglish, Dictionary Days, The Disappearance, Love & Language (with Verónica Albin), Resurrecting Hebrew, and Mr. Spic Goes to Washington, and he has edited books including The Oxford Book of Jewish Stories and the upcoming Norton Anthology of Latino Literature. His story "Morirse está en Hebreo" was made into the award-winning movie My Mexican Shivah.
Stavans has received numerous awards, among them a Guggenheim Fellowship, the National Jewish Book Award, an Emmy nomination, the Latino Book Award, Chile's Presidential Medal, the Rubén Darío Distinction, and the Cátedra Roberto Bolaño. His work has been translated into a dozen languages.
Crossing the River presents a wide range of Nguyen Huy Thiep's short fiction, both realistic stories in contemporary settings and retellings of folk myths that serve as contemporary parables. When Thiep's stories first appeared in the 1980s, they set off a chain of debate, not only within intellectual and political circles, but also within the society at large. Typically, the struggles of his characters were about survival, not survival in the context of war or revolution, but survival in the context of the emotional and psychological strength it takes to live within the harsh confines of post-war Vietnamese society. Thiep captured the emotional quality of Vietnamese life in a way no other author had done, and his importance can be recognized today by his enormous influence on younger writers.
The English middle class in the late nineteenth century enjoyed an increase in the availability and variety of material goods. With that, the visual markers of class membership and manly behavior underwent a radical change. In The Cut of His Coat: Men, Dress, and Consumer Culture in Britain, 1860–1914, Brent Shannon examines familiar novels by authors such as George Eliot, Anthony Trollope, Thomas Hughes, and H. G. Wells, as well as previously unexamined etiquette manuals, period advertisements, and fashion monthlies, to trace how new ideologies emerged as mass-produced clothes, sartorial markers, and consumer culture began to change.
While Victorian literature traditionally portrayed women as having sole control of class representations through dress and manners, Shannon argues that middle-class men participated vigorously in fashion. Public displays of their newly acquired mannerisms, hairstyles, clothing, and consumer goods redefined masculinity and class status for the Victorian era and beyond.
The Cut of His Coat probes the Victorian disavowal of men’s interest in fashion and shopping to recover men’s significant role in the representation of class through self-presentation and consumer practices.
When Hermann Seele anived in New Braunfels in 1845, the raw colony was plagued by poverty, disease, lack of food, and hostile Indians. This personal record of the Germans in Texas shows their evolution from struggling colonists to prosperous citizens.
From his viewpoint of a hardworking yet imaginative pioneer, Seele presents first a history of German immigration and settlement in Texas during the nineteenth century. Next, his autobiographical writings range from a "sentimental recollection" of his first Christmas Eve in Texas to his first day of teaching in New Braunfels, from accounts of the popular singing society to murder and justice along the Comal River. In addition, Seele's romantic novel, The Cypress, is a delightful though improbable tale of a traveling botanist, a chieftain's daughter, and a savage Indian cult.
Hermann Seele—farmer, lawyer, teacher, lay preacher, mayor, state representative, Civil War major, and editor—epitomizes the best of the German immigrants who established their communities as models of respectability and prosperity.
The edited volume Cyrus the Great: Life and Lore re-contextualizes Cyrus’s foundational act and epoch in light of recent scholarship, while examining his later reception in antiquity and beyond. Among the many themes addressed in the volume are: the complex dossier of Elamo-Persian acculturation; the Mesopotamian antecedents of Cyrus’s edict and religious policy; Cyrus’s Baupolitik at Pasargadae, and the idiosyncratic genesis of Persian imperial art; the Babylonian exile, the Bible, and the First Return; Cyrus’s exalted but conflicted image in the later Greco-Roman world; his reception and programmatic function in genealogical constructs of the Hellenistic and Arsacid periods; and finally Cyrus’s conspicuous and enigmatic evanescence in the Sasanian and Muslim traditions.
The sum of these wide-ranging contributions assembled in one volume, as well as a new critical edition and English translation of the Cyrus Cylinder, allow for a more adequate evaluation of Cyrus’s impact on his own age, as well as his imprint on posterity.
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