Especially evident in Victorian-era writings is a rhetorical tendency to liken adults to children and children to adults. Claudia Nelson examines this literary phenomenon and explores the ways in which writers discussed the child-adult relationship during this period. Though far from ubiquitous, the terms “child-woman,” “child-man,” and “old-fashioned child” appear often enough in Victorian writings to prompt critical questions about the motivations and meanings of such generational border crossings. Nelson carefully considers the use of these terms and connects invocations of age inversion to developments in post-Darwinian scientific thinking and attitudes about gender roles, social class, sexuality, power, and economic mobility. She brilliantly analyzes canonical works of Charles Dickens, Charlotte Brontë, William Makepeace Thackeray, Bram Stoker, and Robert Louis Stevenson alongside lesser-known writings to demonstrate the diversity of literary age inversion and its profound influence on Victorian culture. By considering the full context of Victorian age inversion, Precocious Children and Childish Adults illuminates the complicated pattern of anxiety and desire that creates such ambiguity in the writings of the time. Scholars of Victorian literature and culture, as well as readers interested in children’s literature, childhood studies, and gender studies, will welcome this excellent work from a major figure in the field.

From Betty Smith, author of the beloved American classic A Tree Grows in Brooklyn, comes an unsentimental yet radiant and powerfully uplifting tale of young love and marriage. In 1927, in Brooklyn, New York, Carl Brown and Annie McGairy meet and fall in love. Though only eighteen, Annie travels alone halfway across the country to the Midwestern university where Carl is studying law—and there they marry. But Carl and Annie’s first year together is much more difficult than they anticipated as they find themselves in a faraway place with little money and few friends. With hardship and poverty weighing heavily upon them, they come to realize that their greatest sources of strength, loyalty, and love, will help them make it through. A moving and unforgettable story, Joy in the Morning is “a glad affirmation that love can accomplish the impossible.” (Chicago Tribune)

This book demonstrates that 'the awkward age' formed a fault-line in Victorian female experience, an unusual phase in which restlessness, self-interest, and rebellion were possible. Tracing evolving treatments of female adolescence though a host of long-forgotten women's fictions, the book reveals that representations of the girl in popular women's literature importantly anticipated depictions of the feminist in the fin de siècle New Woman writing; conservative portrayals of girls' hopes, dreams, and subsequent frustrations helped clear a literary and cultural space for the New Woman's 'awakening' to disaffected consciousness. The book thus both historicises the evolution and mythic appeal of the female adolescent and works to receive suggestive exchanges between apparently diverse female literary traditions.

Paul Dombey is a cold, unbending, pompous merchant, and a widower with two children - Paul and Florence. His chief ambition is to perpetuate the firm-name. He dreams of passing his business on to his son. Dombey dotes on his son, and neglects and mistreats his daughter.The "son" in the title of the book is incapable of ever joining the firm. A sickly and odd child, Paul dies at the age of six. Dombey pours his resentment and anger out on his daughter, whom he pushes away despite her efforts to earn her father's love.Eventually Dombey remarries, after literally acquiring his new wife from her father in a commercial transaction. Dombey is as bad a husband as he is a father and his marriage is loveless. His new bride hates Dombey and eventually runs off with Canker, his business manager. Dombey characteristically blames Florence for this reversal, and strikes her, causing Florence to run away as well.Abandoned by everyone, Dombey loses his business and goes half insane, living in his decaying house. Dombey is eventually reconciled to his daughter, who always a doormat forgives her father........

David Copperfield, the world's foremost illusionist, gathers together in this anthology a stunning collection of stories about the world of magic. Contributing writers include Harlan Ellison, Larry Bond, Dtephen Donaldson, John Jakes, and many more. This unique volume includes Copperfield's own introduction to each story and discussions of the magic involved in each plot.

本书是《牛津英国文学指南》的最新版本。引进后作为“英美文学文库”的一册。对具有历史的及现代的重要意义的作家、作品、组织等均有简明介绍外,还收入了二十世纪新派文人.