Suchergebnisse

Introduction / Nancy E. Johnson -- Blackstone's legal actors : the passions of a rational jurist / Simon Stern -- Narrative sentiment in Adam Smith's lectures on jurisprudence / Nancy E. Johnson -- "How like you the eloquence of a young barrister" : love and the law in Boswell's development as a writer in the late 1760s / J.T. Scanlan -- Freedom and fetters : nuptial law in Burney's The Wanderer / Melissa J. Ganz -- Doubled jeopardy : the condemned woman as historical relic / Erin Sheley -- The madness of sovereignty : George III and the known unknown of torture / Peter de Bolla -- The great dramatist : Macaulay and the English constitution / Ian Ward

This article examines the European Writers' Union, founded by Nazi Germany with representatives of 15 nations in October 1941, in the context of the history of the idea of European literature. It argues that this institution was a serious effort to re-order the international literary field into a European form, designed to help legitimate Nazi Germany's New Order Europe and to establish the cultural hegemony which German elites believed they alone deserved. Aware that what Pierre Bourdieu calls the 'literary field' had its own rules, the Nazis sought at Weimar to legitimate their bid to reorder European literary life by highlighting Germany's literary capital and by playing on the tensions within the interwar understanding of the concept of European literature. In this way, the European Writers' Union marked a historically significant intervention into the contested and high-stakes issue of what 'European literature' was. Drawing on work by scholars of comparative literature and cultural sociology, this article sets the Writers' Union in the transnational history of the literary field in twentieth-century Europe in order to interpret the rhetorical, ideological and practical strategies of what could be called the 'soft power' of Nazi Empire.

"This is the first book-length study to systematically and theoretically analyse the use and representation of individual body parts in Gothic fiction. Moving between filmic and literary texts and across the body-from the brain, hair and teeth, to hands, skin and the stomach-this book engages in unique readings by foregrounding a diversity of global representations. Building on scholarly work on the 'Gothic body' and 'body horror', 'Gothic Dissections in Film and Literature' dissects the individual features that comprise the physical human corporeal form in its different functions. This very original and accessible study, which will appeal to a broad range of readers interested in the Gothic, centralises the use (and abuse) of limbs, organs, bones and appendages. It presents a set of unique global examinations; from Brazil, France and South Korea to name a few; that address the materiality of the Gothic body in depth in texts ranging from the nineteenth century to the present; from Nikolai Gogol, Edgar Allan Poe, Roald Dahl and Chuck Palahniuk, to David Cronenberg, Freddy Krueger and The Greasy Strangler."--Cover page 4