This book explores the relationship between aesthetic productivity and artists' degree of involvement in social and sexual life as depicted in Virginia Woolf's novels. Ann Ronchetti locates the sources of Woolf's lifelong preoccupation with the artist's relationship to society in her family heritage, her exposure to Walter Pater and the aesthetic movement, and the philosophical and aesthetic interests of the Bloomsbury group.

For students of modern literature, the works of Virginia Woolf are essential reading. In her novels, short stories, essays, polemical pamphlets and in her private letters she explored, questioned and refashioned everything about modern life: cinema, sexuality, shopping, education, feminism, politics and war. Her elegant and startlingly original sentences became a model of modernist prose. This is a clear and informative introduction to Woolf's life, works, and cultural and critical contexts, explaining the importance of the Bloomsbury group in the development of her work. It covers the major works in detail, including To the Lighthouse, Mrs Dalloway, The Waves and the key short stories. As well as providing students with the essential information needed to study Woolf, Jane Goldman suggests further reading to allow students to find their way through the most important critical works. All students of Woolf will find this a useful and illuminating overview of the field.

This study of Defoe's politics aims to challenge the critical demand to see Defoe as a 'modern' and to counter misrepresentations of his political writings by restoring them to their seventeenth-century context. Offering a full examination of Defoe's years as a political reporter and journalist (1689-1715), it recovers his traditional, conservative and anti-Lockean ideas on contemporary issues: the origins of society, the role of the people in the establishment of a political society and how monarchies are created and maintained as the means of achieving a beneficent political order. At the heart of Defoe's political imagination, Manuel Schonhorn finds the vision of a warrior-king, derived from sources in the Bible and in ancient and English history. This model illuminates his original reading of Defoe's greatest political fiction, Robinson Crusoe, which emerges less in terms of a family romance, a tract for the rising bourgeoisie or a Lockean parable of government, than as a dramatic re-enactment of Defoe's lifelong political preoccupations concerning society, government and kingship.

David Ellison's book is an investigation into the historical origins and textual practice of European literary Modernism. Ellison's study traces the origins of Modernism to the emergence of early German Romanticism from the philosophy of Immanuel Kant, and emphasizes how the passage from Romanticism to Modernism can be followed in the gradual transition from the sublime to the uncanny. Arguing that what we call High Modernism cannot be reduced to a religion of beauty, an experimentation with narrative form, or even a reflection on time and consciousness, Ellison demonstrates that Modernist textuality is characterized by the intersection, overlapping, and crossing of aesthetic and ethical issues. Beauty and morality relate to each other as antagonists struggling for dominance within the related fields of philosophy and theory on the one hand (Kant, Kierkegaard, Nietzsche, Freud) and imaginative literature on the other (Baudelaire, Proust, Gide, Conrad, Woolf, Kafka).

This first study in English of the complete writings of Italo Calvino (1923-85) offers new interpretations of Calvino's main works, taking into account some important unpublished material, and analyses Calvino's intertextual links with major writers of world literature (Conrad, Stevenson, Hemingway and Borges). Postmodern elements in his texts are assessed, and a chapter on Calvino's critical essays shed important light on his creative process.

This volume brings together J.S. Mills On Liberty and a selection of important essays by such eminent scholars as Isaiah Berlin, Alan Ryan, John Rees, C.L. Ten and Richard Wollheim. As well as providing authoritative commentary upon On Liberty, the essays reflect a broader debate about the philosophical foundations of Mill's liberalism, particularly the question of the connection betweenMill's professed utilitarianism and his commitment to individual liberty. Introduced and edited by John Gray and G.W. Smith, the book will be of interest to students of Mill, to ethical and political philosophers and to anyone interested in the contemporary status of liberalism.

The idea of a visual manifestation of the work of Franz Kafka was denied by many--first and foremost by Kafka himself, who famously urged his publisher to avoid an image of an insect on the cover of Metamorphosis. Be that as it may, it is unlikely that such a central progenitor of twentieth-century art and thought as Kafka can be fully understood without reference to the revolutionary artistic medium of his century: cinema. Mediamorphosis compiles articles by some of today's leading forces in the scholarship of Kafka as well as film studies to provide a thorough investigation of the reciprocal relations between Kafka's work and the cinematic medium. The volume approaches the theoretical integration of Kafka and cinema via such issues as the cinematic qualities in Kafka's prose and the possibility of a visual manifestation of the Kafkaesque. Alongside these debates, the book investigates the capacity of cinema to incorporate and express the unique qualities of a Kafkaesque world through an analysis of cinematic adaptations of Kafka's prose, such as Michael Haneke's The Castle (1997) and Straub-Huillet's Class Relations (1984), as well as films that carry a more subtle relation to Kafka's oeuvre, such as the cinematic works of David Cronenberg, the films of the Coen brothers, Chris Marker's "film-essay," Charlie Chaplin's tramp, and others.

Continuum's Reader's Guides are clear, concise and accessible introductions to classic works of philosophy. Each book explores the major themes, historical and philosophical context and key passages of a major philosophical text, guiding the reader toward a thorough understanding of often demanding material. Ideal for undergraduate students, the guides provide an essential resource for anyone who needs to get to grips with a philosophical text. First published in 1859, John Stuart Mill's On Liberty has exerted an enormous influence on philosophical and political thought ever since. Mill, also famous for his writings on utilitarianism, argues that individual liberty is of paramount importance and that any infringements of it must be kept to an absolute minimum. Mill himself described his brief but brilliant book as asserting 'one very simple principle . . . that the sole end for which mankind are warranted, individually or collectively, in interfering in the liberty of any of their number, is self-protection.' Of course, drawing out the implications of this principle has proved to be anything but simple, and the various interpretations of Mill's doctrine have spawned countless debates and mountains of secondary literature. Numerous moral and political theorists have drawn on Mill's work, including Berlin, Rawls and Raz, and his ideas remain as relevant as ever today.

There is no shortage of explanations for the longevity of Defoe's Robinson Crusoe, which has been interpreted as both religious allegory and frontier myth, with Crusoe seen as an example of the self-sufficient adventurer and the archetypal colonizer and capitalist. Defoe's original has been reimagined multiple times in legions of Robinsonade or castaway stories, but the Crusoe myth is far from spent. This wideranging collection brings together eleven scholars who suggest new and unfamiliar ways of thinking about this most familiar of works, and who ask us to consider the enduring appeal of "Crusoe," more recognizable today than ever before.

A scholarly and imaginative reconstruction of the voyage Daniel Defoe took from the pillory to literary immortality, The Shortest Way with Defoe contends that Robinson Crusoe contains a secret satire, written against one person, that has gone undetected for 300 years. By locating Defoe's nemesis and discovering what he represented and how Defoe fought him, Michael Prince's book opens the way to a new account of Defoe's emergence as a novelist. The book begins with Defoe's conviction for seditious libel for penning a pamphlet called The Shortest Way with the Dissenters (1702). A question of biography segues into questions of theology and intellectual history and of formal analysis; these questions in turn require close attention to the early reception of Defoe's works, especially by those who hated or suspected him. Prince aims to recover the way of reading Defoe that his enemies considered accurate. Thus, the book rethinks the positions represented in Defoe's ambiguous alternation and mimicking of narrative and editorial voices in his tracts, proto-novels, and novels. By examining Defoe's early publications alongside Robinson Crusoe, Prince shows that Defoe traveled through nonrealist, nonhistorical genres on the way to discovering the form of prose fiction we now call the novel. Moreover, a climate (or figure) of extreme religious intolerance and political persecution required Defoe always to seek refuge in literary disguise. And, religious convictions aside, Defoe's practice as a writer found him inhabiting forms known for their covert deism.

'A number of interesting and powerful themes emerge in this study of Virginia Woolf's relation to the literary past . . . The strong account of Woolf's relation to tradition in Virginia Woolf's Novels and the Literary Past will surely facilitate further study of the gender politics of Modernism.' --Times Literary Supplement 'An important intervention at a time in which there is particular interest in Woolf's relationship to the past.'--Professor Laura Marcus, University of Sussex 'Essential and intellectually provocative reading for Woolf scholars and for common readers alike.'--Vara Neverow, University of Connecticut This is the first book to explore Virginia Woolf's preoccupation with the literary past and its profound impact on the content and structure of her novels. It analyses Woolf's reading and writing practices via her essays, diaries and reading notebooks and presents chronological studies of eight of her novels, exploring how Woolf's intensive reading surfaced in her fiction. The book sheds light on Woolf's varied and intricate use of literary allusions; examines ways in which Woolf revisited and revised plots and tropes from earlier fiction; and looks at how she used parody as a means both of critical comment and homage.