A history of fable in written and illustrative media from classical times to 1800 and beyond.

The complex relationship between myths and music is here investigated.

Friendship and Allegiance explores the concept of friendship as it was defined, contested and distorted by writers of the early eighteenth century. Setting well-known canonical texts (The Beggar's Opera, Gulliver's Travels) alongside lesser-known works, it portrays a literary world renegotiating the meaning of public and private virtue.

This collection of twelve essays by colleagues, students, and friends of Everett Zimmerman treats four topics that Zimmerman explored during his career: the representation of the self in narratives, the early British novel and related forms, their epistemological and generic borders, and their intellectual and cultural contexts. The collection is divided into two sections: Boundaries and Forms. The essays in Boundaries explore how epistemological and narrative distinctions between history and fiction meet or overlap in the novel's relationship to other forms, including providential history, travel narratives, uptopias, autobiography, and visual art. In Forms, the contributors investigate fictional, historical, and material forms; the impact those cultural phenomena had on the meaning and value attributed to literary works; and how such forms arose in response to historical conditions. The essays describe the historical range of Zimmerman's work, beginning with Defoe and ending with Coetzee, and treat such key writers of the long eighteenth century as Fielding, Richardson, Walpole, Austen, and Scott. Bakersfield. Robert Mayer is Professor of English and Director of the Screen Studies Program at Oklahoma State University.

This volume brings together five translations of Aesopian fables that range from the beginning to the end of the English Renaissance. At the centre of the volume is an edition of the entirety of Arthur Golding’s manuscript translation of emblematic fables, A Morall Fabletalke (c. 1580s). By situating Golding’s text alongside William Caxton’s early printed translation from French (1485), Richard Smith’s English version of Robert Henryson’s Middle-Scots Moral Fabillis (1577), John Brinsley’s grammar school translation (1617), and John Ogilby’s politicized fables translated at the end of the English Civil War (1651), this book shows the wide-ranging forms and functions of the fable during this period.

This collection centers on the remarkable life and career of the writer and actor Elizabeth Inchbald (1753–1821), active in Great Britain in the late eighteenth century. Inspired by the example of Inchbald’s biographer, Annibel Jenkins (1918–2013), the contributors explore the broad historical and cultural context around Inchbald’s life and work, with essays ranging from the Restoration to the nineteenth century. Ranging from visual culture, theater history, literary analyses and to historical investigations, the essays not only present a fuller picture of cultural life in Great Britain in the long eighteenth century, but also reflect a range of disciplinary perspectives. The collection concludes with the final scholarly presentation of the late Professor Jenkins, a study of the eighteenth-century English newspaper The World (1753-1756).

The first full account of the life and work of a nineteenth-century woman who carved out a unique career as an important writer in English on Welsh subjects. It is a major contribution to history of women’s writing in English. It is also a major contribution to knowledge of Welsh Writing in English in the nineteenth century.

"The present volume [3] is the first to appear of the five that will comprise The Oxford History of Classical Reception in English Literature (henceforth OHCREL). Each volume of OHCREL will have its own editor or team of editors"--Preface.

Every ending marks a potential beginning; every act of reading is, in a very real sense an act of re-writing; and to revise is, literally, to re-see. These bits of conventional wisdom underlie the topic explored in this volume's collection of essays by literary critics who want to know more about the instinct to continue and the impulse to revise an existing text.

This collection of innovative essays by leading scholars on eighteenth-century British women satirists showcases women's contributions to the satiric tradition and challenges the assumption that women were largely targets, rather than practitioners, of satire during the long eighteenth century. The essays examine women's satires across diverse genres, from the fable to the periodical, and attend to women writers' appropriation of a literary style and form often viewed as exclusively masculine. The introduction features a new theory of women's satire and proposes a framework for analyzing satiric techniques employed by women writers. Organized chronologically, the contributors' essays address a wide range of authors and explore the ways in which satiric writings by women engaged in contemporary cultural conversations, influencing assumptions about gender, sociability, politics, and literary practices. This inclusive yet tightly-focused collection formulates an innovative and provocative new feminist theory of satire.