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Books on the topic 'Literary production from Mauritius'

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Published: 10 December 2022
Last updated: 28 January 2023

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1

French feminist theory exemplified through the novels of Julia Kristeva: The bridge from psychoanalytic theory to literary production. Lewiston: E. Mellen Press, 2008.

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2

Shakespeare, William. The tragedie of King Lear: A facsimile from the First Folio. London: Shakespeare's Globe, 2008.

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3

Shakespeare, William. Hamlet: An authoritative text, intellectual backgrounds, extracts from the sources, essays in criticism. Edited by Cyrus Hoy. 2nd ed. New York, USA: W. W. Norton & Company, 1992.

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4

Shakespeare, William. Hamlet: Complete, authoritative text with biographical and historical contexts, critical history, and essays from five contemporary critical perspectives. Boston: Bedford Books of St. Martin's Press, 1994.

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Shakespeare, William. Hamlet: Complete,authoritative text with biographical and historical contexts, critical history, and essays from five contemporary critical perspectives. London: Macmillan, 1994.

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6

Pellegrini, Ernestina, Federico Fastelli, and Diego Salvadori, eds. Firenze per Claudio Magris. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.

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This volume brings together a selection of essays on Claudio Magris’ work, aiming to enrich critical debate with a specific focus on interdisciplinary dimension and continuous dialogue with the main European literary traditions. The outcome is an overall study on Magris’ narrative, essayistic and theatrical production, trying to fix his plural and prismatic identity: from the narration of places to an unavoidable ideological tension; from philosophical alphabets to the weight of History; from Myth’s remediation to the abroad reception; from hypotext filigree to real case studies. According to a diachronic perspective, they focus attention on Magris’ works, such as Microcosmi, Alla cieca, Non luogo a procedere and Tempo curvo a Krems.
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7

Shakespeare, William. Julius Caesar. Oxford: Oxford University Press, 1991.

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8

Shakespeare, William. Julius Caesar. Cambridge: Cambridge University Press, 2009.

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9

Shakespeare, William. The tragedy of JuliusCaesar. Edited by Mowat Barbara Adams and Werstine Paul. New York: Washington Square Press, 1992.

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10

Shakespeare, William. Julius Caesar. London: J.M. Dent, 1993.

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11

Shakespeare, William. Julius Caesar. Hauppauge, N.Y: Barron's, 2002.

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12

Shakespeare, William. Julius Caesar. San Diego, CA: ICON Classics, 2005.

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13

Shakespeare, William. Julius Caesar. Oxford: Oxford University Press, 1994.

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14

Shakespeare, William. Julius Caesar: Now published as it is performed at the TheatresRoyal. Oxford: Pergamon Press, 1985.

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15

Shakespeare, William. Julius Caesar for young people. Fair Oaks, Calif: Swan Books, 1990.

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16

Shakespeare, William. Julius Caesar. New York: Penguin Group USA, Inc., 2009.

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17

Shakespeare, William. Julius Caesar. San Diego, CA: ICON Classics, 2005.

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18

Shakespeare, William. Julius Caesar. 2nd ed. Logan, Iowa: Perfection Learning Corp., 1998.

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19

Masten, Masten. Language Machines: Technologies of Literary and Cultural Production (Essays from the English Institute). Routledge, 1997.

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20

Egan, Gerald. Fashion and Authorship: Literary Production and Cultural Style from the Eighteenth to the Twenty-First Century. Springer International Publishing AG, 2021.

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21

Fashion and Authorship: Literary Production and Cultural Style from the Eighteenth to the Twenty-First Century. Palgrave Macmillan, 2020.

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22

Shakespeare, William. Julius Caesar: A Fully-Dramatized Audio Production From Folger Theatre. Simon & Schuster Audio, 2015.

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23

Allen, Paul. A Pocket Guide to Alan Ayckbourn's Plays. Faber and Faber, 2004.

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24

Price, Leah. Anthology and the Rise of the Novel: From Richardson to George Eliot. Cambridge University Press, 2009.

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Price, Leah. Anthology and the Rise of the Novel: From Richardson to George Eliot. Cambridge University Press, 2000.

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26

Pepe, Teresa. Blogging from Egypt. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474433990.001.0001.

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Six years before the Egyptian revolution of January 2011, many young Egyptians had resorted to blogging as a means of self-expression and literary creativity. Some of these bloggers have not only received big popularity within the online community, but have also attracted the interest of independent and mainstream publishing houses, and have made their way into the Arab cultural field. Previous research on the impact of the Internet in the Middle East has been dominated by a focus on politics and the public sphere, while its influence on cultural domains remains very little explored. Blogging From Egypt aims at filling this gap by exploring young Egyptians’ blogs as forms of digital literature. It studies a corpus of 40 personal blogs written and distributed online between 2005 and 2016, combining literary analysis with interviews with the authors. The study reveals that the experimentation with blogging resulted in the emergence of a new literary genre: the autofictional blog. The book explores the aesthetic features of this genre, as well as its relation to the events of the “Arab Spring”. Finally, it discusses how blogs have evolved in the last years after 2011 and what is left of the blog in Arabic literary production. The book includes original extracts and translation from blogs, made available for the first time to an English-speaking audience.
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27

Shakespeare, William. Hamlet: Literary Touchstone. Prestwick House Inc., 2005.

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28

Shakespeare, William. Julius Caesar: Literary Touchstone. Prestwick House Inc., 2005.

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29

Pingyuan, Chen. The Story of Literary History. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.5.

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Starting with a reflection on Lu Xun’s ambivalence toward the writing of literary history, this chapter analyzes the emergence and importance of literary history as a discursive tool for structuring the production and transmission of knowledge about literature from the late Qing onward. In the context of China’s transition to a Western-style educational system in the early twentieth century, reinforced by a turn of intellectuals from literary revolution to “Rearranging the National Heritage” after 1919, literary history with its systemic approach replaced the traditional literary education focused on rhetoric, aesthetic taste, and composition. This crucial shift in discursive system and the concomitant lack of attention to literariness and creativity has had a profound and lasting influence on literary studies in China and continues to impact the production, analysis, and teaching of literature today.
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30

Sarat, Austin. From Charisma to Routinization and Beyond. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190456368.003.0004.

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This chapter argues that the charismatic period of law and literature scholarship and the days when some turned to literature as a template for legal thinking are long gone. It identifies three possible futures for law and literature. One would see the field emphasizing its distinctiveness and resisting incorporation into broader interdisciplinary explorations of law. The second would see the field embedded in broader analysis of the relationship of law and cultural production. The third involves pushing the boundaries of law and literary study beyond the humanities and culture. This law as performance perspective brings literary and cultural analysis together with social studies of the way law performs in a variety of domains. The chapter concludes that the brightest future for the field is one in which the distinctiveness of law and literature scholarship fades so that its contribution to broader understandings of law can be enhanced.
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31

1652-1715, Tate Nahum, and Elliston Robert William, eds. Shakespeare's tragedy ofKing Lear: Printed chiefly from Nahum Tate's edition with some restorations from the original text by R.W. Elliston. Oxford: Pergamon, 1985.

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32

Shakespeare, William. The Merchant of Venice: From Shakespeare Stories (Shakespeare Series). Chivers North America, 1999.

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33

Fitzgerald, William, and Efrossini Spentzou, eds. The Production of Space in Latin Literature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768098.001.0001.

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This volume addresses, through a range of different authors and genres, Latin literature’s psychogeographical engagement with space. The volume’s title alludes to Henri Lefebvre’s La Production de l’espace of 1974, a seminal work in what is now called ‘the spatial turn’ in the humanities. Lefebvre stresses that space is to be included among the sites of hegemonic power and ideological contestation in a society and should not simply be thought of as a neutral container for human action, the setting in which it takes place. The contributions to this volume focus mainly on movement, or the mobile subject, in the experience, and making, of space rather than on the fixed monumental space within which that subject moves and acts. The contributions cover a broad terrain, both temporally (from Catullus to St Augustine) and generically (lyric, epic, elegy, satire, epistolography, historiography, autobiography, antiquarianism). They discuss the distinctively Roman experiences of space, and their intersections with empire, urbanism, identity, ethics, exile, and history. From a range of different angles they consider the specifically literary modes of the engagement with space in different genres and authors and pay special attention to the ideological stakes of this engagement.
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34

Winckles, Andrew O., and Angela Rehbein, eds. Women's Literary Networks and Romanticism. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940605.001.0001.

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The eighteenth century witnessed the rapid expansion of social, political, religious, and literary networks in Great Britain. The increased availability of and access to print, combined with the ease with which individuals could correspond across distance, ensured that it was easier than ever before for writers to enter into the marketplace of ideas. However, we still lack a complex understanding of how literary networks functioned, what the term ‘network’ means in context, and how women writers in particular adopted and adapted to the creative possibilities of networks. The essays in this volume address these issues from a variety of perspectives, arguing that networks not only provided women with access to the literary marketplace, but fundamentally altered how they related to each other, to their literary production, and to the broader social sphere. By examining the texts and networks of authors as diverse as Sally Wesley, Elizabeth Hamilton, Susanna Watts, Elizabeth Heyrick, Joanna Baillie, Mary Berry, Mary Russell Mitford, Mary Shelley, and Elizabeth Barrett Browning, this volume demonstrates that attention to the scope and influence of women’s literary networks upends long standing assumptions about gender, literary influence, and authorial formation during the Romantic period. Furthermore, this volume suggests that we must rethink what counts as literature in the Romantic period, how we read it, and how we draw the boundaries of Romanticism.
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35

Shakespeare, William. Hamlet: From Shakespeare Stories by Leon Garfield (Shakespeare Series). Chivers North America, 1999.

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36

Shakespeare, William. Julius Caesar: From Shakespeare Stories by Leon Garfield (Shakespeare Series). Chivers North America, 1999.

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37

Newell, Stephanie. African Literary Histories and History in African Literatures. Edited by John Parker and Richard Reid. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199572472.013.0025.

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This chapter offers a series of approaches to, and questions about, the different types of historical engagement to be found in African literatures. History, in African literatures, is not a term that applies simply to narratives that engage with the past: African literatures offer historians examples of the imagination in history and the imagination as history. The chapter proposes a three-tiered methodology: first, consideration of the time and place of literary production; second, consideration of the ways in which works of literature engage with the concepts of time, memory, and historical consciousness; and third, consideration of the temporal and geographical distances separating literary works from their current audiences.
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38

Mowry, Melissa. Collective Understanding, Radicalism, and Literary History, 1645-1742. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192844385.001.0001.

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Collective Understanding, Radicalism, and Literary History reaches back to the English civil wars (1642–1646, 1648) when a distinctive and anti-authoritarian hermeneutic emerged from the dissident community known as the Levellers. Active between 1645 and 1653, the Levellers argued that a more just political order required that knowledge, previously structured by the epistemology of singularity upon which sovereignty had built its authority, be reorganized around the interpretive principles and practices of affiliation and collectivity. Defined by the century’s central ideological conflict between sovereignty’s epistemology of singularity and the civil war era plebeian “hermeneutics of collectivity,” the book contends that late Stuart and eighteenth-century literature played a central role in marginalizing the non-elite methods of interpretation and knowledge production that had emerged in the 1640s.
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39

Gruesser, John Cullen. A Literary Life of Sutton E. Griggs. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192856319.001.0001.

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Writing, publishing, and marketing five politically engaged novels that appeared between 1899 and 1908, Sutton E. Griggs (1872‒1933) was among the most prolific African American authors at the turn of the twentieth century. In contrast to his Northern contemporaries Paul Laurence Dunbar and Charles Chesnutt, Griggs, as W. E. B. Du Bois, remarked, “spoke primarily to the Negro race,” using his own Nashville-based publishing company to issue four of his novels. Griggs pastored Baptist churches in three Southern states, and played a leading role in the influential but understudied National Baptist Convention. Until recently little was known about the personal and professional life of this religious and community leader: critics could only contextualize his literary texts to a limited degree and were forced to speculate about how he published them. This literary biography, the first written about the author, draws extensively on primary sources and late-nineteenth- and early-twentieth-century periodicals, local and national, African American and white. A very different Sutton Griggs emerges from these materials—a dynamic figure who devoted himself to literature for a longer period and to a more profound extent than ever previously imagined, but who also frequently found himself embroiled in controversy because of what he said in his writings and the means he used to publish them. The book challenges currently held notions about the audience for, and the content, production, and dissemination of politically engaged US black fiction, thereby altering the perception of the African American literature and print culture of the period.
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40

Shakespeare, William. A Reproduction in Facsimile of Hamlet from the First Folio of 1623. Triple Anvil Press, 2007.

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41

Jiménez, Enrique. Middle and Neo-Babylonian Literary Texts in the Frau Professor Hilprecht Collection, Jena. Harrassowitz Verlag, 2022. http://dx.doi.org/10.13173/9783447118811.

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The book contains first editions of thirty-three cuneiform tablets from the Frau Professor Hilprecht Collection, dating to the second half of the second millennium and the first millennium BCE, as well as duplicates and parallels from other museums. The majority of the edited tablets stem from the city of Nippur, but the book also includes manuscripts from Assur and Babylon. The tablets comprise literary, magic, and divinatory texts, as well as fifteen Middle and Neo-Babylonian school manuscripts with excerpts from various compositions. The literary texts include a large prayer invoking blessings of Nippur gods upon the king, known in other cities as well; a wisdom monologue, and a manuscript of The Exaltation of Ištar. The magic section includes Middle Babylonian versions of anti-witchcraft incantations previously known in the first millennium, as well as exorcistic spells, and formulas to be recited upon the consecration of Nippur priests. Extispicy, hemerologies, and physiognomy are among the divinatory texts edited. The school tablets contain excerpts from several texts previously unknown to have survived into the respective periods, such as a Middle Babylonian version of Tamarisk and Palm and a first-millennium version of the wisdom text Hearken to the Advice. The introduction of the book contains an overview of Nippur history, as well as a discussion of the provenance of the tablets and their social and school contexts. The city of Nippur, whose scholarly production circulated widely in Antiquity, is strangely bereft of scholarly manuscripts, a fact that the book seeks to explain.
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42

Jones, William B. Classics Illustrated and the Evolving Art of Comic-Book Literary Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.12.

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During its thirty-year history, from 1941 to 1971, the first US series of Classics Illustrated comic-book adaptations of literary fiction and biography continually reaffirmed its intent to guide young readers to engagement with “the original text.” Adaptation approaches varied in the 169 titles over the course of decades of new-title production. Most of the earlier issues remained in print, resulting in a mixture of simultaneously available adaptation styles. The three eras in CI adaptation might be loosely described as Interpretive (1941–44), Hybrid (1945–56), and Faithful (1957–62). Although scriptwriters’ methods overlapped, precluding neat boundaries, the issue of textual fidelity was a constant concern, explicitly or implicitly. Analyses of individual adaptations by representative scriptwriters illuminate the evolution of adaptation goals and strategies in a new, disfavored medium and reveal the adapters’ offhand creation of their own canon that in some ways has outlasted the canon they sought to enshrine.
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43

Galtsova, Elena D., ed. “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0.

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The collaborative monograph “‘Notes from Underground’ by F.M. Dostoevsky in the Culture of Europe and America” is devoted to poorly studied aspects of the Western perception of the novella. Russian, European and American authors analyze the translations of “Notes from Underground” into European languages, as well as its philosophical, literary, critical, theatrical and cinematic reception. The Appendix contains the previously unpublished text of the world’s first theatrical production of the story, “The Underground Spirit” (“L’Esprit souterrain”, 1912) by H.-R. Lenormand (in French and Russian), archival materials by M. Unamuno and J. Puig i Ferreter, prefaces to early translations, etc. The publication is accompanied by a bibliography of translations and reception of the novella in Europe and America.
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44

1717-1779, Garrick David, and Kemble John Philip, eds. Shakespeare's Katharine and Petruchio: A comedy taken by David Garrick from 'The taming of a shrew' : ..now first published as it is acted at the Theatre Royal in Covent Garden. Oxford: Pergamon Press, 1985.

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45

Shakespeare, William. Hamlet: Complete, Authoritative Text With Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives (Case Studies in Contemporary Criticism). Palgrave Macmillan, 1993.

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46

Githire, Njeri. Dis(h)coursing Hunger. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038785.003.0004.

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This chapter examines the use of the trope of hunger in Lindsey Collen's There is a Tide (1990) and Mutiny (2001) to dispel the myth of Mauritius as a model of paradise that permeates historical, travel, and literary writing. In these texts, the plight of characters debilitated by lack of nourishment, literally and metaphorically, and symbolically consumed by the ravenous, parasitic apotheoses of capitalist market relations points to cannibalism as the ultimate act of domination. Specifically, Collen draws an analogy between the historic slavery that had been the economic basis of the island as a plantation colony, and contemporary economic processes that commodify bodies in the production of consumable goods. In this general scenario of cannibalistic cravings that threaten the autonomy of physical and national bodies, the predicament of the Chagossians (or Chagos Islanders)—forcibly displaced to Mauritius after their island was expropriated and turned into a strategic lynchpin for U.S. military operations in the Middle East and the wider Indian Ocean region—evokes territorial appropriation as spatial cannibalism par excellence. The chapter also highlights the newer forms of cannibal intent that continue to define islands' contact and subsequent negotiations with consumer culture.
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47

Rice, Alison. Worldwide Women Writers in Paris. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192845771.001.0001.

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Worldwide Women Writers in Paris brings together a variety of authors who are a part of a phenomenon of new writing by women in French. These individuals, all eighteen of whom hail from outside the hexagonal borders of France, have chosen to take up residence in the French capital and compose literary works in French. Whether they were born in Algeria, Hungary, India, Mauritius, South Korea, or elsewhere, these women writers are contributing to a transformation in the Francophone literary landscape through stylistic and thematic innovations that have emerged in part from their differing experiences and varying itineraries. Despite their divergences, these women have much in common, especially when it comes to the way they are continually perceived as foreigners in the location they have adopted as home. Even those who enjoy the greatest international renown for their publications in French are constantly reminded within France that they are not originally from this nation, and this emphasis on their foreign origins may have contributed to keeping them at a remove from the recognition they deserve in French letters. It is, however, becoming more difficult to ignore a growing collective corpus revealing ever greater creativity and wielding ever more influence. These authors are not content simply to compose complicated texts, but they are also actively involved in the formulation of complex publishing profiles that reveal movement and diversity. This result is nothing less than a literary revolution, and it is time to celebrate it.
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48

Julius Caesar. Waiheke Island: The Floating Press, 2009.

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49

Shakespear. Julius Caesar. Steck Vaughn, 1991.

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50

Shakespeare, William. Jules César. Aubier - Montaigne, 1994.

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