Henry James and the Poetics of Duplicity aims to advance the field of studies on the life and work of Henry James by fully exploring the author’s use of duplicity, one of the key literary and rhetorical strategies within the author’s vast and infamous arsenal of techniques of ‘ambiguity’. The collection brings together essays by both long established and more recent Jamesian scholars from eleven different countries, the collective work of whom, through this publication, further enhances our grasp of the ever-elusive literary style of Henry James. The prefatory section of this volume provides a general overview of the myriad uses of ‘duplicity’ in the writings of Henry James. The collected essays are then divided into five sections, each providing an in-depth study of a particular use of duplicity as a rhetorical strategy. The first three sections focus on duplicitous devices employed within James’s works of fiction – including the author’s often underhanded use of undisclosed literary sources (‘Duplicitous Subtexts’), his staging of characters who rely on subterfuge and outright lying (‘Duplicitous Characters’), and his creation of doubles and doppelgängers – another key connotation of the term ‘duplicity’ – both within a single work and throughout his literary career (‘Duplicitous Representation’). The two final sections then focus the poetics of duplicity employed in works of non-fiction by James, including his autobiographies and his reviews of other authors, as well as in his personal writings and correspondence. This includes James’s guileful use of duplicity in his representation of himself, particular attention being paid to James’s late works of self-assessment (‘Duplicitous Self-Representation’), as well as in his assessments of other writers in his reviews or of certain places in his travel writing (‘Duplicitous Judgements’). Henry James and the Poetics of Duplicity would thus be a great asset to scholars of James at all levels, from the student grappling with James’s literary sleight of hand for the first time, to specialists in the field of James who have long studied the masterful art of James’s literary trickery.

To commemorate the recent centennial of Henry James’s death and to help readers understand the depth and scope of the author’s influence both today and during the previous century, thirty leading Jamesian scholars from twelve different countries and five continents were asked to explore ways in which the notions of ‘heritage’ and ‘transmission’ currently come into play when reading James. The resulting chapters of this volume are divided into three main sections, each focusing on different ways in which James’s legacy is being re-evaluated today—from his influence on key authors, playwrights and film-makers over the past century (Part One), to new discoveries regarding European authors and artists who influenced James (Part Two), to recent approaches more radically re-evaluating James for the twenty-first century, including contemporary poetics, political and sociological dimensions, cognitive science, and queer studies (Part Three). This collection will be of great interest to scholars and general readers of James, and is a useful guide to tracing the writer’s ever-elusive ‘figure in the carpet’ and understanding the power of his continued impact today.

By combining the techniques of textual criticism and the insights of close reading, Generous Mistakes offers new perspectives not only on two of Henry James's major novels (The Portrait of a Lady and The Ambassadors) but also on the process by which they became the books we know--or think we know. Through a better understanding of the conditions of production that affected James's author function, we achieve a deeper appreciation of the historical contingencies of his artistry. Closely examining new forms of evidence (even fingerprints), Generous Mistakes contends that authorship is a hybrid construction, a sometimes unpredictable sequence of different forms of practice, each of which contributes meaningfully to the texts we read and analyze. Offering a sustained examination of the 'textual condition' of James's work--going beyond the relatively familiar ground of authorial revision--this study brings into sharper focus the complex and sometimes arbitrary factors that contributed to the making of two masterpieces of modern fiction and to the legend of the master who wrote them.

Writers' lives are endlessly fascinating for the reading public and literary scholars alike. By examining the self-representation of authors across the schism between Victorianism and Modernism via the First World War, this study offers a new way of evaluating biographical context and experience in the individual creative process at a crucial point in world and literary history. Writing Life explores how and why a select group of early twentieth-century writers, including Edmund Gosse, Henry James, Siegfried Sassoon and Dorothy Richardson, adapted the model of the German Romantic Künstlerroman, or artist narrative, for their autobiographical writing. Instead of (mis)reading these autobiographies as historical documentation, Pooler examines how these authors conduct a Romantic-style conversation about literature through literature as a means of reconfirming the role of the artist in the face of shifting values and the cataclysm of the Great War.

This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers a complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock.

This volume explores the world that shaped Henry James’s work and influenced his legacy through the themes of Jamesian cultural anxiety between and beyond spatio-temporal boundaries. As such, each chapter constructs a mode of reading to map and formulate one’s own cultural perspective in various contexts relying on their unique engagement with James’s and Jamesian creative acts of writing—aesthetics and science, the (auto-)biographical as social aspects, genre as literary-social context, the artistic and the economic, editorship and readership, and Asian perspectives on cultural influences and identities—to generate insights and establish new intercultural understandings. These are the traces of the contributors’ national, social, cultural consciousness that allow the definition of the Jamesian worldview as a particularly universal one in a global context.

Most of us experience the world through competing perspectives. A job or a religion seems important and fulfilling when looked at in one way, but from a different angle they seem tedious or ridiculous. A friend is obtuse from one point of view, wise from another. Continuing to hold both views at once can be unsettling, highlighting conflicts between our own judgments and values and undermining our ability to live purposefully and effectively. Yet, as Jennifer Church argues in this book, inner conflict can be a good thing, and not just as a temporary road bump on the road to resolution. This book describes several desirable types of “double consciousness” – or being of two minds – and explains why and how they should be maintained. Church looks critically at some common ideas about identity, including a popular belief about narratives that suggests our lives should “make sense” as a story. She also examines how empathy can helpfully cause us to be of two minds, and how various forms of irony and laughter enable us to benefit from holding onto opposing views. Finally, Church shows the merit of acknowledging reality while sometimes being guided by fantasy. Why It’s OK to Be of Two Minds is for anyone who’s held two opposing views simultaneously, which is to say it’s for everyone. Key Features • Argues against a long-standing philosophical idea: that it is important to resolve inner conflicts that result from competing systems of beliefs. • Examines the role of empathy and friendship in maintaining a valuable form of double consciousness. • Considers how irony and laughter allow us to dedicate ourselves to our particular projects while acknowledging their ultimate insignificance. • Shows how fantasies that conflict with our beliefs can make a positive contribution to the way we live our lives.

Henry James and the Poetics of Duplicity aims to advance the field of studies on the life and work of Henry James by fully exploring the authorâ (TM)s use of duplicity, one of the key literary and rhetorical strategies within the authorâ (TM)s vast and infamous arsenal of techniques of â ~ambiguityâ (TM). The collection brings together essays by both long established and more recent Jamesian scholars from eleven different countries, the collective work of whom, through this publication, further enhances our grasp of the ever-elusive literary style of Henry James. The prefatory section of this volume provides a general overview of the myriad uses of â ~duplicityâ (TM) in the writings of Henry James. The collected essays are then divided into five sections, each providing an in-depth study of a particular use of duplicity as a rhetorical strategy. The first three sections focus on duplicitous devices employed within Jamesâ (TM)s works of fiction â " including the authorâ (TM)s often underhanded use of undisclosed literary sources (â ~Duplicitous Subtextsâ (TM)), his staging of characters who rely on subterfuge and outright lying (â ~Duplicitous Charactersâ (TM)), and his creation of doubles and doppelgängers â " another key connotation of the term â ~duplicityâ (TM) â " both within a single work and throughout his literary career (â ~Duplicitous Representationâ (TM)). The two final sections then focus the poetics of duplicity employed in works of non-fiction by James, including his autobiographies and his reviews of other authors, as well as in his personal writings and correspondence. This includes Jamesâ (TM)s guileful use of duplicity in his representation of himself, particular attention being paid to Jamesâ (TM)s late works of self-assessment (â ~Duplicitous Self-Representationâ (TM)), as well as in his assessments of other writers in his reviews or of certain places in his travel writing (â ~Duplicitous Judgementsâ (TM)). Henry James and the Poetics of Duplicity would thus be a great asset to scholars of James at all levels, from the student grappling with Jamesâ (TM)s literary sleight of hand for the first time, to specialists in the field of James who have long studied the masterful art of Jamesâ (TM)s literary trickery.

In Connections and Influence in the Russian and American Short Story, editors Robert C. Hauhart and Jeff Birkenstein have assembled a collection of eighteen original essays written by literary critics from around the globe. Collectively, these critics argue that the reciprocal influence between Russian and American writers is integral to the development of the short story in each country as well as vital to the global status the contemporary short story has attained. This collection provides original analyses of both well-known Russian and American stories as well as some that might be more unfamiliar. Each essay is purposely crafted to display an appreciation of the techniques, subject matter, themes, and approaches that both Russian and American short story writers explored across borders and time. Stories by Gogol, Dostoevsky, Turgenev, Chekhov, and Krzhizhanovsky as well as short stories by Washington Irving, Faulkner, Langston Hughes, Richard Wright, Ursula Le Guin, Raymond Carver, and Joyce Carol Oates populate this essential, multivalent collection. Perhaps more important now than at any time since the end of the Cold War, these essays will remind readers how much Russian and American culture share, as well as the extent to which their respective literatures are deeply intertwined.