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In Courtly and Queer, Charlie Samuelson casts queerness in medieval French texts about courtly love in a new light by bringing together for the first time two exemplary genres: high medieval verse romance, associated with the towering figure of Chrétien de Troyes, and late medieval dits, primarily associated with Guillaume de Machaut. In close readings informed by deconstruction and queer theory, Samuelson argues that the genres’ juxtaposition opens up radical new perspectives on the deviant poetics and gender and sexual politics of both. Contrary to a critical tradition that locates the queer Middle Ages at the margins of these courtly genres, Courtly and Queer emphasizes an unflagging queerness that is inseparable from poetic indeterminacy and that inhabits the core of a literary tradition usually assumed to be conservative and patriarchal. Ultimately, Courtly and Queer contends that one facet of texts commonly referred to as their “courtliness”—namely, their literary sophistication—powerfully overlaps with modern conceptions of queerness.

Over the last few decades, Victorian scholars have produced many nuanced studies connecting the politics of crime to the generic developments of the novel—and vice versa. Ellen L. O’Brien’s Crime in Verse grants the same attention and status to poetic representations of crime. Considering the literary achievements and cultural engagements of poetry while historicizing murder’s entanglement in legal fictions, punitive practices, medical theories, class conflicts, and gender codes, O’Brien argues that shifting approaches to poetry and conflicted understandings of murder allowed poets to align problems of legal and literary interpretation in provocative, disruptive, and innovative ways.
 

Developing focused analyses of generic and discursive meanings, individual chapters examine the classed politics of crime and punishment in the broadside ballad, the epistemological tensions of homicidal lunacy and criminal responsibility in the dramatic monologue, and the legal and ideological frictions of domestic violence in the verse novel and verse drama. Their juxtaposition of the rhymes of anonymous street balladeers, the underexamined verse of “minor” poets, and the familiar poems of canonical figures suggests the interactive and intertextual relationships informing poetic agendas and political arguments. As it simultaneously reconsiders the institutional and ideological status of murder and the aesthetic and political interests of poetry, Crime in Verse offers new ways of thinking about Victorian poetry’s contents and contexts.

          

The great expositors of Blake and those who have followed in their footsteps have clarified the most minute particulars of Blake's vision. Now, in the place of traditional exegesis, comes a significantly new set of critical problems and interpretive methods. In this volume of essays, the major shift in Blake studies, already under way in practice, is addressed, gauged, analyzed, and debated.

The contributors assembled here, leading exponents of contemporary critical methods as well as close students of Blake, argue the grounds, purposes, and validity of each approach and then apply its method in detailed readings of Blake's works. We see deconstruction, psychoanalytic interpretation, feminist critique, semiotic analysis, Marxist criticism, revisionism, and other methods brought to bear on Blake's texts and into confrontation with one another by those best able to do so.

Through the essays themselves and in the reaction they will certainly provoke, Critical Paths will bring increased theoretical awareness to the study of Blake and will further the ongoing redefinition of Blake's art. At the same time, the collection investigates the general problem of methodology in literary studies by means of a casebook examination of modern critical approaches. Blake criticism and current literary theory here come together; the encounter illuminates and enriches both.

Eighteenth-century British culture is often seen as polite and sentimental—the creation of an emerging middle class. Simon Dickie disputes these assumptions in Cruelty and Laughter, a wildly enjoyable but shocking plunge into the forgotten comic literature of the age. Beneath the surface of Enlightenment civility, Dickie uncovers a rich vein of cruel humor that forces us to recognize just how slowly ordinary human sufferings became worthy of sympathy.

Delving into an enormous archive of comic novels, jestbooks, farces, variety shows, and cartoons, Dickie finds a vast repository of jokes about cripples, blind men, rape, and wife-beating. Epigrams about syphilis and scurvy sit alongside one-act comedies about hunchbacks in love. He shows us that everyone—rich and poor, women as well as men—laughed along. In the process, Dickie also expands our understanding of many of the century’s major authors, including Samuel Richardson, Lady Mary Wortley Montagu, Tobias Smollett, Frances Burney, and Jane Austen. He devotes particular attention to Henry Fielding’s Joseph Andrews, a novel that reflects repeatedly on the limits of compassion and the ethical problems of laughter. Cruelty and Laughter is an engaging, far-reaching study of the other side of culture in eighteenth-century Britain.

Cruising with Robert Louis Stevenson: Travel, Narrative, and the Colonial Body is the first book-length study about the influence of travel on Robert Louis Stevenson’s writings, both fiction and nonfiction. Within the contexts of late-Victorian imperialism and ethnographic discourse, the book offers original close readings of individual works by Stevenson while bringing new theoretical insights to bear on the relationship between travel, authorship, and gender identity in the Victorian fin de siècle. Oliver S. Buckton develops “cruising” as a critical term, linking Stevenson’s leisurely mode of travel with the striking narrative motifs of disruption and fragmentation that characterize his writings. Buckton traces the development of Stevenson’s career from his early travel books to show how Stevenson’s major works of fiction, such as Treasure Island, Kidnapped, and The Ebb-Tide, draw on innovative techniques and materials Stevenson acquired in the course of his global travels. Exploring Stevenson’s pivotal role in the revival of “romance” in the late nineteenth century, Cruising with Robert Louis Stevenson highlights Stevenson’s treatment of the human body as part of his resistance to realism, arguing that the energies and desires released by travel are often routed through disturbingly resistant or darkly comic corporeal figures. Buckton gives extensive attention to Stevenson’s writing about the South Seas, arguing that his groundbreaking critiques of European colonialism are formed in awareness of the fragility and desirability of Polynesian bodies and island landscapes. Cruising with Robert Louis Stevenson will be indispensable to all admirers of Stevenson as well as of great interest to readers of travel writing, Victorian ethnography, gender studies, and literary criticism.

John Guillory challenges the most fundamental premises of the canon debate by resituating the problem of canon formation in an entirely new theoretical framework. The result is a book that promises to recast not only the debate about the literary curriculum but also the controversy over "multiculturalism" and the current "crisis of the humanities." Employing concepts drawn from Pierre Bourdieu's sociology, Guillory argues that canon formation must be understood less as a question of the representation of social groups than as a question of the distribution of "cultural capital" in the schools, which regulate access to literacy, to the practices of reading and writing.

Since the 1980s, scholars have made the case for examining nineteenth-century culture—particularly literary output—through the lens of economics. In Culture and Money in the Nineteenth Century: Abstracting Economics, two luminaries in the field of Victorian studies, Daniel Bivona and Marlene Tromp, have collected contributions from leading thinkers that push New Economic Criticism in new and exciting directions.

Spanning the Americas, India, England, and Scotland, this volume adopts an inclusive, global view of the cultural effects of economics and exchange. Contributors use the concept of abstraction to show how economic thought and concerns around money permeated all aspects of nineteenth-century culture, from the language of wills to arguments around the social purpose of art.

The characteristics of investment and speculation; the fraught symbolic and practical meanings of paper money to the Victorians; the shifting value of goods, services, and ideas; the evolving legal conceptualizations of artistic ownership—all of these, contributors argue, are essential to understanding nineteenth-century culture in Britain and beyond.

Contributors: Daniel Bivona, Suzanne Daly, Jennifer Hayward, Aeron Hunt, Roy Kreitner, Kathryn Pratt Russell, Cordelia Smith, and Marlene Tromp.

"Pithy and wide-ranging. . . . This study provides a fresh new lens through which to reinvestigate the whole of early modern English literature."—Library Journal

In this striking social history, Barbara M. Benedict draws on the texts of the early modern period to discover the era's attitudes toward curiosity, a trait we learn was often depicted as an unsavory form of transgression or cultural ambition.

Containing the complete and annotated texts of six pamphlets written between 1609 and 1620, "Custome Is an Idiot" makes an invaluable contribution to the scholarship on early modern British cultural history, specifically on competing opinions about the role of women in society.
 
During the early seventeenth century a fierce debate raged in British intellectual society regarding the role of women, how much is ordained by God, and how much is merely custom. The pamphlets that circulated at the time reveal a great deal about the terms of the debate, and these six constitute a significant body of primary literature, allowing the contending voices to be heard anew.
 
Included here are two pamphlets about gossips by Samuel Rowlands, William Heale's treatise against wife-beating, Christopher Newstead's argument for the superiority of women, and Hic Mulier and Haec Vir, two pamphlets that address the theme of cross-dressing. Introductions by Susan Gushee O'Malley place each pamphlet in a wider context, and detailed annotations shed light on the individual texts.