The importance of the ethics of form in literature has only recently gained broad recognition and has thus far been explored mainly from the position of moral philosophy and critical theory. Leona Toker develops a narratological approach to the subject, based on studying "reticence" in works of fiction. Reticence consists in narrative techniques through which writers create information gaps that build interest, enhance tension, and control the reader's comprehension of theme, character, and event. Using novels by Fielding, Austen, Dickens, Conrad, Forster, and Faulkner, Toker demonstrates how the withholding of information affects readers' attitudes, stimulates their reassessment, and leads to a self-critical reorientation—and how such manipulation of attention has specific ethical and aesthetic significance. Drawing on descriptive poetics, reader-response criticism, and information theory, Toker marks the parallel situations of the characters in the fiction she analyzes and of the readers who encounter it, and presents a novel approach to the issue of first and repeated readings. The inquiry into the twofold role of the reader opens the discussion of narrative techniques to ethical issues. Through her analysis of silences in representative works Toker makes a meaningful contribution to modern narrative study and offers new insights into a number of familiar novels. This well informed, sensitive, and judicious study will appeal to scholars interested in narrative theory and ethical criticism and to students of Faulkner and of the classical English novel.

Writing about the Holocaust and writing for young readers evoke two quite separate sets of concerns which are not always mutually compatible. The first half of Representing the Holocaust focuses on how literary material can present historically verifiable material. The second half examines how such materials will be perceived by young readers; whether they will be able to determine any boundaries between fictionality and factuality, and what motivates young readers to keep reading. The work concludes by placing the study in the context of Holocaust education.

Even a brief comparison with its canonical counterparts demonstrates that the Gospel of Luke is preoccupied with the power of spoken words; still, words alone do not make a language. Just as music without silence collapses into cacophony, so speech without silence signifies nothing: silences are the invisible, inaudible cement that hold the entire edifice together. Though scholars across diverse disciplines have analyzed silence in terms of its contexts, sources, and functions, these insights have barely begun to make inroads in biblical studies. Utilizing conceptual tools from narratology and reader-response criticism, this study is an initial exploration of largely uncharted territory – the various ways that narrative intersections of speech and silences function together rhetorically in Luke’s Gospel. Considering speech and silence to be mutually constituted in intricate and inextricable ways, Dinkler demonstrates that attention to both characters’ silences and the narrator’s silences helps to illuminate plot, characterization, theme, and readerly experience in Luke’s Gospel. Focusing on both speech and silence reveals that the Lukan narrator seeks to shape readers into ideal witnesses who use speech and silence in particular ways; Luke can be read as an early Christian proclamation – not only of the gospel message – but also of the proper ways to use speech and silence in light of that message. Thus, we find that speech and silence are significant matters of concern within the Lukan story and that speech and silence are significant tools used in its telling.

Taking its title from a poem by Prince Edward Island poet Anne Compton, In the Interval of the Wave is a close study of diaries written by Prince Edward Island women in the nineteenth and early twentieth centuries. Women from both rural and urban regions of the Island recorded their lives in a genre that allowed them to play with the conventions of the language they knew. For busy farm wives, their quotidian language, syntax, and choice of topic appear simple, whereas for the urban elite like Margaret Gray Lord and Wanda Wyatt, the erudition of their diaries suggests a more leisured existence. Mary McDonald-Rissanen argues that the initial reception of the text - its physical appearance, handwriting, gaps, and flood of words - provides interesting insights for understanding the circumstances of Prince Edward Island women from times past. Intertextual readings of the diaries alongside other cultural artifacts such as paintings, histories, folk stories, and songs embellish the idiosyncratic diary discourse. Diaries enabled women to write their voices, create a subjective identity, and redefine their place in the world. In the Interval of the Wave exposes lives lived and recorded in a special moment and place never far from the rhythm of the sea.

Reproduction of the original: The Girl of the Period and Other Social Essays, Vol. II (of 2) by Eliza Lynn Linton

At the outbreak of the Second World War Vladimir Nabokov stood on the brink of losing everything all over again. The reputation he had built as the pre-eminent Russian novelist in exile was imperilled. In Nabokov and his Books, Duncan White shows how Nabokov went to America and not only reinvented himself as an American writer but also used the success of Lolita to rescue those Russian books that had been threatened by obscurity. Using previously unpublished and neglected material, White tells the story of Nabokov the professional writer and how he sought to balance his late modernist aesthetics with the demands of a booming American literary marketplace. As Nabokov's reputation grew so he took greater and greater control of how his books were produced, making the material form of the book—including forewords, blurbs, covers—part of the novel. In his later novels, including Pale Fire, Ada, and Transparent Things, the idea of the novelist losing control of his work became the subject of the novels themselves. These plots were replicated in Nabokov's own biography, as he discovered his inability to control the forces the market success of Lolita had unleashed. With new insights into Nabokov's life and work, this book reconceptualises the way we think about one of the most important and influential novelists of the twentieth century.

Silence, gender, and the sonnet revival -- Breaking "the silent Sabbath of the grave" : romantic women's sonnets and the "mute arbitress" of grief -- "In silence like to death" : Elizabeth Barrett's sonnet turn -- Sing again : Christina Rossetti and the music of silence -- "Silence, 'tis more cruel than the grave!" : Isabella Southern and the turn to the twentieth century -- Women's renunciation of the sonnet form.

"The Girl of the Period, and Other Social Essays" in 2 volumes is a collection of essays upon various social subjects written by the British journalist Eliza Lynn Linton, who was a severe critic of early feminism. Her most famous essay on this matter, The Girl of the Period, was published in Saturday Review in 1868 and was a vehement attack on feminism. Linton is a leading example of the fact that the fight against votes for women was not only organised by men. This carefully crafted e-artnow ebook is formatted for your eReader with a functional and detailed table of contents._x000D_ Volume 1:_x000D_ The Girl of the Period_x000D_ Modern Mothers_x000D_ Modern Mothers_x000D_ Paying One's Shot_x000D_ What is Woman's Work?_x000D_ Little Women_x000D_ Ideal Women_x000D_ Pinchbeck_x000D_ Affronted Womanhood_x000D_ Feminine Affectations_x000D_ Interference_x000D_ The Fashionable Woman_x000D_ Sleeping Dogs_x000D_ Beauty and Brains_x000D_ Nymphs_x000D_ Mésalliances_x000D_ Weak Sisters_x000D_ Pinching Shoes_x000D_ Superior Beings_x000D_ Feminine Amenities_x000D_ Grim Females_x000D_ Mature Sirens_x000D_ Pumpkins_x000D_ Widows_x000D_ Dolls_x000D_ Charming Women_x000D_ Apron-strings_x000D_ Fine Feelings_x000D_ Sphinxes_x000D_ Flirting_x000D_ Scramblers_x000D_ Flattery_x000D_ La Femme Passée_x000D_ Spoilt Women_x000D_ Dovecots_x000D_ Bored Husbands_x000D_ Volume 2:_x000D_ Gushing Men_x000D_ Sweet Seventeen_x000D_ The Habit of Fear_x000D_ Old Ladies_x000D_ Voices_x000D_ Burnt Fingers_x000D_ Désœuvrement_x000D_ The Shrieking Sisterhood_x000D_ Otherwise-minded_x000D_ Limp People_x000D_ The Art of Reticence_x000D_ Men's Favourites_x000D_ Womanliness_x000D_ Something to Worry_x000D_ Sweets of Married Life_x000D_ Social Nomads_x000D_ Great Girls_x000D_ Shunted Dowagers_x000D_ Privileged Persons_x000D_ Modern Man-haters_x000D_ Vague People_x000D_ Arcadia_x000D_ Strangers at Church_x000D_ In Sickness_x000D_ On a Visit_x000D_ Drawing-room Epiphytes_x000D_ The Epicene Sex_x000D_ Women's Men_x000D_ Hotel Life in England_x000D_ Our Masks_x000D_ Heroes at Home_x000D_ Seine-fishing_x000D_ The Discontented Woman_x000D_ English Clergymen in Foreign Watering-places_x000D_ Old Friends_x000D_ Popular Women_x000D_ Choosing or Finding_x000D_ Local Fêtes