The development of sport in the twentieth century has been examined from a variety of angles. Rarely, though, has the work of the creative writer been considered in detail. This book directs its attention to this neglected area, examining a selection of novels in which the subject of sport has featured prominently. It highlights the ways in which novelists in the second half of the twentieth century have approached sport, explained its place in society, and through the sporting subject constructed a critique of the historical circumstances in which their narrative is set. The study therefore seeks to complement the increasing body of work on the representation of sport through such media as film, television, and autobiography. It also brings a fresh dimension to the use made by historians of literary sources, suggesting that creative fiction can be far more valuable as historical evidence than has customarily been acknowledged.

An immensely persuasive work of literary criticism that opens a new chapter in the American dialogue on race—and promises to change the way we read American literature—from the acclaimed Nobel Prize winner Morrison shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires. According to the Chicago Tribune, Morrison "reimagines and remaps the possibility of America." Her brilliant discussions of the "Africanist" presence in the fiction of Poe, Melville, Cather, and Hemingway leads to a dramatic reappraisal of the essential characteristics of our literary tradition. Written with the artistic vision that has earned the Nobel Prize-winning author a pre-eminent place in modern letters, Playing in the Dark is an invaluable read for avid Morrison admirers as well as students, critics, and scholars of American literature.

Associationism and the Literary Imagination traces the influence of empirical philosophy and associationist psychology on theories of literary creativity and on the experience of reading literature. It runs from David Hume's Treatise of Human Nature in 1739 to the works of major literary critics of the twentieth century, such as I.A. Richards, W.K. Wimsatt and Northrop Frye. Cairns Craig explores the ways in which associationist conceptions of literature gave rise to some of the key transformations in British writing between the romantic and modernist periods. In particular, he analyses the ways in which authors' conceptions of the form of their readers' aesthetic experience led to radical developments in literary style, from the fragmentary narrative of Sterne's Tristram Shandy in 1760 to Virginia Woolf's experiments in the rendering of characters' consciousness in the 1920s; and from Wordsworth's poetic use of autobiography to J.G. Frazer's exploration of a mythic unconscious in The Golden Bough. Detailed analyses are offered of the ways in which a wide variety of major British writers, including Scott, Lady Morgan, Dickens, Tennyson, Hardy, Yeats, Joyce and Woolf developed their literary techniques on the basis of associationist conceptions of the mind, and of how modern literary criticism - from Arthur Symons to Roland Barthes - is founded on associationist principles. Associationism and the Literary Imagination relocates the traditions of British writing since the eighteenth century within the neglected context of its native empirical philosophy, and reveals how many of the issues assumed to be products of 'postmodern' or 'deconstructive' theory have long been foregrounded and debated within the traditions of British empiricism. This is a work which provides a radical new perspective on the history of literature in Britain and Ireland and challenges many of the assumptions of contemporary theoretical debate about the

Examines slavery in Roman culture through analysis of Roman literature; topics covered include punishment, fantasy, and the use of slaves as intermediaries between free persons.

How did Jews understand sacred writing before the concepts of "Bible" and "book" emerged? The Literary Imagination in Jewish Antiquity challenges anachronistic categories to reveal new aspects of how ancient Jews imagined written revelation-a wildly varied collection stretching back to the dawn of time, with new discoveries always around the corner.

Christ and Apollo, originally published in 1960, is a classic of literary criticism, a book that Commonweal once predicted may well change the course of literary studies. It did not do that, of course. Its literary, philosophical, and theological presuppositions, as Glenn Arbery points out in his new introduction, were too different from those of the ruling theoretical paradigms for it to be given a hearing And that is precisely what makes it a volume worth returning to. In Christ and Apollo, William Lynch examines the Greek dramatists, Dante, Shakespeare, Proust, Camus, Graham Greene, and other writers in light of their affinities with two opposing tendencies. The symbol of the first approach is Apollo. For Lynch, this is the tendency to want to escape the finite, real world and the human condition of embodiment: it has much in common with what critic Allen Tate called the angelic imagination. The symbol of the other tendency is Christ, the Word made flesh. Artists working in this tradition give readers a glimpse of the infinite by working patiently and honestly with the materials of the finite world, in all its messy imprecision. For Lynch, then, as Arbery points out, limitation, or finitude, is the great human good. Praised by Flannery O'Connor, among others, Lynch's sophisticated work is in many ways an important elaboration of the New Criticism, avoiding that school of thought's formalist excesses while providing it with firmer philosophical ground. For anyone interested in understanding what distinguishes great literature, Christ and Apollo is an essential text.

Smallpox was a much feared disease until modern times, responsible for many deaths worldwide and reaching epidemic proportions amongst the British population in the seventeenth and eighteenth centuries. This is the first substantial critical study of the literary representation of the disease and its victims between the Restoration and the development of inoculation against smallpox around 1800. David Shuttleton draws upon a wide range of canonical texts including works by Dryden, Johnson, Steele, Goldsmith and Lady Mary Wortley Montagu, the latter having experimented with vaccination against smallpox. He reads these texts alongside medical treatises and the rare, but moving writings of smallpox survivors, showing how medical and imaginative writers developed a shared tradition of figurative tropes, myths and metaphors. This fascinating study uncovers the cultural impact of smallpox, and the different ways writers found to come to terms with the terror of disease and death.

This book examines representations of tuberculosis in Victorian fiction, giving insights into how society viewed this disease and its sufferers.

What exactly is goodness? Where is it found in the literary imagination? Toni Morrison, one of American letters’ greatest voices, pondered these perplexing questions in her celebrated Ingersoll Lecture, delivered at Harvard University in 2012 and published now for the first time in book form. Perhaps because it is overshadowed by the more easily defined evil, goodness often escapes our attention. Recalling many literary examples, from Ahab to Coetzee’s Michael K, Morrison seeks the essence of goodness and ponders its significant place in her writing. She considers the concept in relation to unforgettable characters from her own works of fiction and arrives at conclusions that are both eloquent and edifying. In a lively interview conducted for this book, Morrison further elaborates on her lecture’s ideas, discussing goodness not only in literature but in society and history—particularly black history, which has responded to centuries of brutality with profound creativity. Morrison’s essay is followed by a series of responses by scholars in the fields of religion, ethics, history, and literature to her thoughts on goodness and evil, mercy and love, racism and self-destruction, language and liberation, together with close examination of literary and theoretical expressions from her works. Each of these contributions, written by a scholar of religion, considers the legacy of slavery and how it continues to shape our memories, our complicities, our outcries, our lives, our communities, our literature, and our faith. In addition, the contributors engage the religious orientation in Morrison’s novels so that readers who encounter her many memorable characters such as Sula, Beloved, or Frank Money will learn and appreciate how Morrison’s notions of goodness and mercy also reflect her understanding of the sacred and the human spirit.

The outpouring of Native American literature that followed the publication of N. Scott Momaday’s Pulitzer Prize–winning House Made of Dawn in 1968 continues unabated. Fiction and poetry, autobiography and discursive writing from such writers as James Welch, Gerald Vizenor, and Leslie Marmon Silko constitute what critic Kenneth Lincoln in 1983 termed the Native American Renaissance. This collection of essays takes the measure of that efflorescence. The contributors scrutinize writers from Momaday to Sherman Alexie, analyzing works by Native women, First Nations Canadian writers, postmodernists, and such theorists as Robert Warrior, Jace Weaver, and Craig Womack. Weaver’s own examination of the development of Native literary criticism since 1968 focuses on Native American literary nationalism. Alan R. Velie turns to the achievement of Momaday to examine the ways Native novelists have influenced one another. Post-renaissance and postmodern writers are discussed in company with newer writers such as Gordon Henry, Jr., and D. L. Birchfield. Critical essays discuss the poetry of Simon Ortiz, Kimberly Blaeser, Diane Glancy, Luci Tapahonso, and Ray A. Young Bear, as well as the life writings of Janet Campbell Hale, Carter Revard, and Jim Barnes. An essay on Native drama examines the work of Hanay Geiogamah, the Native American Theater Ensemble, and Spider Woman Theatre. In the volume’s concluding essay, Kenneth Lincoln reflects on the history of the Native American Renaissance up to and beyond his seminal work, and discusses Native literature’s legacy and future. The essays collected here underscore the vitality of Native American literature and the need for debate on theory and ideology.