Exploring territory seldom visited by feminist scholars, Ann Messenger in this new book presents eight studies of literary relationships between men and women writers, ranging from the Restoration to the end of the eighteenth century. The essays show men and women working together, praising and criticizing each other's work, borrowing -- and changing -- each other's plots and characters, recording their different perceptions of their common world. From Dryden's praise of Anne Killigrew, through Gay's and Lady Mary Wortley Montagu's collaboration on a town eclogue, Thomas Southerne's dramatizations of novels by Aphra Behn, and Eliza Haywood's version of the Spectator, to Cornelia Knight's sequel to Rasselas, these relationships demonstrate that men and women writers inhabited the same literary world, shared the traditions of the mainstream of English literature. Most of the women have since faded from view. But Messenger suggests the time has come to rediscover them, to reassess their work, and to revise the commonly accepted canon of literature accordingly. Although most of the studies deal with the way women's writing responds to writing by men, the Afterword combats the charge that the women's work is "derivative."Free of critical jargon and ideological strait-jacketing, His and Hers makes some little-known writers available and interesting to specialists and nonspecialists, feminists and traditionalists, alike, while it sheds new light on some of the most familiar figures of the period. The Appendix reprints some of the shorter works which have been analyzed in detail, and summaries in the text help to compensate for the unavailability of some of the women's books. The comparative approach suggests a wide and rich field for further research.

In this guide to the literature on human migration, J.J. Mangalam indexes over 2,000 titles that appeared in English from 1955 through 1962. An important feature of this work is the annotation of nearly 400 major articles on migration. These annotations provide information on the main focus of the study, the hypotheses tested, and any special measuring devices employed. The conclusions are also given, using the authors' words whenever possible. To facilitate the use of this guide the author has compiled an index that lists not only the subjects treated but also the major variables used in each abstracted study; thus the researcher who is interested in the use of certain variables can easily refer to the previous investigation of the influence of these factors upon migration. In a comprehensive introduction, Mangalam surveys the current state of studies of human migration and suggests a theoretical framework by which the vast amount of existing facts from different migration studies can be integrated and given meaning.

The last of four novels that preceded Machado de Assis's famous trilogy of realistic masterpieces, Iaiá Garcia belongs to what critics have called the Brazilian author's "romantic" phase. But it is far more than that implies. Like his other early works, Iaiá Garcia foreshadows the themes and characters of Assis's most masterful novels. Iaiá Garcia intertwines the lives of three characters in a subtly and wryly developing relationship. While the youthful Iaiá is growing into womanhood, a tentative love affair occurs between the aristocratic Jorge and the prideful Estela. This affair is afflicted by ironic shifts of fortune and in time the maturing Iaiá becomes a rival for Jorge's attentions. Assis's portrayal of the relationship among these three characters is a perceptive study of uncompromising pride, thwarted love, jealousy, misunderstanding, bewilderment, and attainment.As the translator, Albert I. Bagby, Jr., contends, the story of Iaiá, Jorge, and Estela reflects the formula that Assis saw as fundamental to human life: "Will and ambition, when they truly dominate, can struggle with other feelings, but they are the weapons of the strong, and victory belongs to the strong." In Assis's view success comes to the strong and failure to the weak. But both inhabit a world that is neutral-neither helping one nor hindering the other. The outcome of events in Iaiá Garcia may not seem entirely optimistic, but neither is it pessimistic. And Mr. Bagby concludes, "Perhaps to understand the optimism of Assis one needs only to be... a hard, pragmatic realist.... "Whether hard realists or unregenerate romantics, readers of this novel will find it a compelling tale of love lost and won. Like his earlier translation of Assis's The Hand & the Glove, Mr. Bagby's English rendering of Iaiá Garcia from the original Portuguese is done with both accuracy and sensitivity.

The masterpieces of medieval Spanish literature have come to be known and loved by Hispanists, and more recently by others throughout the world. But the brilliant illuminations with which the original manuscripts were illustrated have remained almost totally unknown on the shelves of the great European libraries. To redress this woeful neglect, two noted scholars here present a generous selection from this great visual treasury including many examples never before reproduced. John E. Keller and Richard P. Kinkade have chosen five representative works, dating from the mid-thirteenth century to the late fifteenth, to illustrate the richness of early Spanish narrative art. Together, these five works encompass the entire range of narrative techniques and iconography to be found in medieval Spain, and reflect both foreign and native Spanish artistic tendencies. The authors' analyses of the relation between verbalizations and visualizations will provide students of medieval art and literature a wealth of new information expanding our knowledge of this fascinating period. The beauty of many of the illuminations speaks for itself.

"The world is so sad and solemn," wrote Nathaniel Hawthorne, "that things meant in jest are liable, by an overwhelming influence, to become dreadful earnest; gaily dressed fantasies turning to ghostly and black-clad images of themselves." From the radical dualism of Hawthorne's vision, Samuel Coale argues, springs a continuing tradition in the American novel. In Hawthorne's Shadow is the first critical study to describe precisely the formal shape of Hawthorne's psychological romance and to explore his themes and images in relation to such contemporary writers as John Cheever, Norman Mailer, Joan Didion, John Gardner, Joyce Carol Oates, William Styron, and John Updike. When viewed from this perspective, certain writers -- particularly Cheever, Mailer, Oates, and Gardner -- appear in a new and very different light, leading to a considerable reevaluation of their achievement and their place in American fiction.Mr. Coale's long interviews and conversations with John Cheever, John Gardner, William Styron, and others have provided insights and perspectives that make this book particularly valuable to students of contemporary American literature. Coale links contemporary writers to an on-going American romantic tradition, represented by such earlier authors as Melville, Harold Frederic, Faulkner, Flannery O'Connor, and Carson McCullers. He explores the distinctly Manichean matter of much American romance, linking it to America's Puritan past and to the almost schizophrenic dynamics of American culture in general. Finally, he reexamines the post-modernist writers in light of Hawthorne's "shadow" and shows that, however similar they may be in some ways, they differ remarkably from the previous American romantic tradition.

J. R. LeMaster and Mary Washington Clarke have here assembled a distinguished collection of essays on the works of Jesse Stuart. A prolific writer, Stuart is at home in many different genres; his poetry, his short stories, his novels, and his autobiographical writings are widely known, and his books for children have enjoyed great popularity. Despite the variety of his work and despite the diversity of the ten essayists' points of view, there emerges from this volume a consistent view of a man whose close contact with the land and the people of his region has produced a distinctive body of writing.H. Edward Richardson offers us a glimpse of Jesse Stuart at home, freely and earnestly discussing his work and relating it to the scenes about him. This essay forms a background for the other contributors' discussions of Stuart's humor, his use of folklore, and his persistent agrarian point of view. This, the first collection of all new critical essays on Stuart's writings, succeeds admirably in what criticism is supposed to do-making more accessible the important work of a significant writer.

Although Rasselas has received more critical commentary than almost any other work by Samuel Johnson, Edward Tomarken's book is the first full length study to focus on his tale of the Prince of Abyssinia. This anomaly arises, as Tomarken shows, because Rasselas has remained resistant to the customary critical approaches of the eighteenth, nineteenth, and twentieth centuries, consistently eliciting new kinds of insights and raising new sorts of problems.Tomarken' s contribution is a new methodology to explain this phenomenon. He sees Johnson's early writings, London and Irene, as instances of the writer trying with only partial success to achieve what he first realized in The Vanity of Human Wishes, a means of permitting literary form to refer to conduct. Later works, such as The Journey to the Western Islands of Scotland, are viewed as further developments of this method, which achieved its fullest expression in Rasselas and the Life of Pope.Such a reading of Johnson develops an aesthetic that operates on the margins between the literary and the extra-literary. Although Johnson's own critical view was unable to accommodate such a position, Tomarken shows that in practice he moved toward it by a process of trial and error manifest in his poetry and narratives. When raised to the level of critical method, this approach goes beyond the assumptions not only of Johnson's day but also of our own.Tomarken's theoretical coda demonstrates how the choices of current critical theory, like those in the marriage debate in Rasselas, can be understood to interact with one another. Specifically, he proposes a dialectical relationship for two approaches hermeneutics and structuralism-usually seen as opposed to one another. This innovative study will interest not only Johnson scholars but all those concerned with critical theory.

Many critics hold that Shakespeare's King Lear is primarily a drama of meaningful suffering and redemption within a just universe ruled by providential higher powers. William Elton's King Lear and the Gods challenges the validity of this widespread optimistic view. Testing the prevailing view against the play's acknowledged sources, and analyzing the functions of the double plot, the characters, and the play's implicit ironies, Elton concludes that this standard interpretation constitutes a serious misreading of the tragedy.

Charles Moorman reexamines several major works of the western heroic tradition: The Iliad, The Odyssey, Beowulf, The Song of Roland, The Nibelungenlied, the Norse sagas, and the Arthurian cycle. Disregarding the usual limited definitions which have controlled the study of heroic literature, he draws together these disparate works by proposing a theme common to them all: the opposition of two major figures whom he names king and captain.The figure of the king arises from the community with its need for responsible government, while the captain, derived from myth, is a highly individualistic, irresponsible heroic figure. The tension which Moorman sees between them is used as a means of reinterpreting the works under study. Though widely separated in time and cultural milieu, The Illiad, and The Song of Roland, for example, can be compared by interpreting both the Agamemnon-Achilles and the Oliver-Roland relationships as conflicts between king and captain. These essays will prove illuminating for layman and scholar alike.

Jorge de Montemayor's great pastoral novel La Diana (1559), one of the fountainheads of Spanish Renaissance literature, has often been regarded as a work written merely to amuse an effete courtly world. Bruno M. Damiani argues here that, far from being simply a "pastoral dream," Diana has profound socio-historical and religious dimensions, and that Montemayor's intentions in it were largely moral and instructive. The timeless, idyllic nature which forms the essence of the pastoral is, in the case of Diana, inextricably bound up with the grace and sophistication of urban Spanish culture. Indeed, this study shows, Montemayor's shepherds and shepherdesses exist not in an imaginary Arcadian land but in the very real Spain and Portugal of their author's own time, and many of the characters are disguises for actual persons of the Spanish court, including perhaps the author himself.Similarly, the philosophical and religious concerns of Renaissance Spain are fully explored in the lives of Montemayor's sorrowing rustics. Symbolically they are sinners who have fallen from grace and must undertake a spiritual pilgrimage, one which ultimately leads them to an understanding of the Christian virtues of faith, hope, and charity.Mustering a wealth of classical, biblical, medieval, and Renaissance sources, the author reveals the underlying fabric of Diana, an inter-twining of allegory, symbolism, and imagery intended to instruct Monte-mayor's readers in the path of virtue. Damiani's analysis of this important work offers us a clearer view of the intellectual life of Renaissance Spain.

In 1973 the Australian novelist Patrick White won the Nobel Prize for Literature, the year that his great novel of family ties and change, The Eye of the Storm, was published and became a bestseller in America and Europe. Yet White is still not widely known or read, and few writers of today have provoked so many contradictory judgments.Now Peter Wolfe has written the first book-length study of the work of this brilliant and haunting novelist. The study offers a subtle, penetrating examination of White's style, his skill in building narrative tension, and also the depth and complexity reflected in his characterization, which, in his novels, always dominates action. Fittingly, for a writer whose novels bear the indelible stamp of Australia, the study also examines White's psychological use of setting and the intense sense of place found in his work.No other critical study of White covers such a broad range of his writing. Peter Wolfe considers here the entire canon of the novels. The Tree of Man, Voss, The Vivisector, The Eye of the Storm, A Fringe of Leaves, and The Twyborn Affair (White's most recent novel) are all discussed. White's themes and settings range from the power and immensity of the wilderness of the Australian outback to the dislocations wrought in traditional values by postwar industrialization and urban sprawl.Laden Choirs makes accessible to an American audience a writer of the first rank, whose work lies at the heart of modernist concerns. Literary students and scholars who wish to explore the world of Patrick White will find this book an essential key.

No other American novelist has written so fully about language -- grammar, diction, the place of colloquialism and dialect in literary English, the relation between speech and writing -- as William Dean Howells. The power of language to create social, political, and racial identity was of central concern to Americans in the nineteenth century, and the implications of language in this regard are strikingly revealed in the writings of Howells, the most influential critic and editor of his age.In this first full-scale treatment of Howells as a writer about language, Elsa Nettels offers a historical overview of the social and political implications of language in post-Civil War America. Chapters on controversies about linguistic authority, American versus British English, literary dialect, and language and race relate Howells's ideas at every point to those of his contemporaries -- from writers such as Henry James, Mark Twain, and James Russell Lowell to political figures such as Theodore Roosevelt, Henry Cabot Lodge, and John Hay.The first book to analyze in depth and detail the language of Howells's characters in more than a dozen novels, this path-breaking sociolinguistic approach to Howells's fiction exposes the fundamental contradiction in his realism and in the America he portrayed. By representing the speech that separates standard from nonstandard speakers, Howells's novels -- which champion the democratic ideals of equity and unity -- also demonstrate the power of language to reinforce barriers of race and class in American society.Drawing on unpublished letters of Howells, James, Lowell, and others and on scores of articles in nineteenth-century periodicals, this work of literary criticism and cultural history reaches beyond the work of one writer to address questions of enduring importance to all students of American literature and society.

To examine the social and cultural significance of the athlete hero in American literature, Robert J. Higgs turns to the works of Ring Lardner, Ernest Hemingway, F. Scott Fitzgerald, Thomas Wolfe, William Faulkner, Robert Penn Warren, Arthur Miller, and Tennessee Williams. Higgs views the athlete in literature not as an artistic creation but as one who reflects the tastes, attainments, beliefs, and ideals of his society. The athletes he describes as Apollonian are the know-it-alls, of whom Lardner's Busher Keefe is an example; the Dyonisian, as exemplified by Irwin Shaw's Christian Darling, worships his body as an end in itself. The Adonic seeks knowledge for the sake of self-realization and lives in a world of tension, pain, struggle, and hope. Such a figure is Wolfe's Nebraska Crane. Higgs finds in contemporary American literature a clear rejection of the Apollonian and Dyonisian models and an acceptance of the Adonic.

In this first detailed and comprehensive account of Leopardi's theory of poetry, G. Singh assesses both the literary and critical attainments of a poet whose eminence ranks him with Dante and Petrarch. Singh's analysis, which employs extensive reference to Leopardi's work in order to illustrate the author's own comments, sets forth Leopardi's views on the larger questions of tradition, inspiration, and the imagination in poetry. Later chapters are concerned with the more specific matters of the poetic image, style, and language.

"If Bakhtin is right," Wayne C. Booth has said, "a very great deal of what we western critics have spent our time on is mistaken, or trivial, or both." In Literature and Spirit David Patterson proceeds from the premise that Bakhtin is right. Exploring Bakhtin's notions of spirit, responsibility, and dialogue, Patterson takes his reader from the narrow arena of literary criticism to the larger realm of human living and human loving. True to the spirit of Bakhtin, he draws the Russian into a vibrant dialogue with other thinkers, including Foucault, Berdyaev, Gide, Lacan, Levinas, and Heidegger. But he does not stop there. He engages Bakhtin in his own insightful and unique dialogue, meeting the responsibility and taking the risk summoned by dialogue.Literature and Spirit, therefore, is not a typically cool and detached exercise in academic curiosity. Instead, it is a passionate and penetrating endeavor to respond to literature and spirit as the links in life's attachment to life. The author demonstrates that in deciding something about literature, we decide something about the substance and meaning of our lives. Far from being a question of commentary or explication, he argues, our relation to literature is a matter of spiritual life and death. The reader who comes before a literary text encounters the human voice. And Patterson enables his reader to hear that voice in all its spiritual dimensions.Unique in its questions and in its quest, Literature and Spirit addresses an audience that goes beyond the ordinary academic categories. It appeals not only to students of literature, philosophy, and religion, but to anyone who seeks an understanding of spiritual presence and meaning in life. Through his affirmation of what is dear, Patterson responds to the needful question. And in his response he puts the question to his audience: Where are you? Literature and Spirit thus speaks to those who face the task of answering, "Here I am."

Written in 1929--1930, when Federico García Lorca was visiting Columbia University, Poet in New York stands as one of the great Waste Land poems of the 20th century. It expresses, as Betty Jean Craige writes in this volume,"a sudden radical estrangement of the poet from his universe" -- an an estrangement graphically delineated in the dissonant, violent imagery which the poet derives from the technological world of New York.Craige here describes -- through close analysis of the structure, style, and themes of individual works in Poet in New York -- the chaos into which this world plunges the poet, and the process whereby he is able, gradually, to recover his identity with the regenerative forces of nature. Her study demonstrates that, though seemingly unique in form and motifs, Poet in New York is integral with Lorca's overall poetic achievement.