The Review of English Studies - recent issues

The Review of English Studies Prize Essay: 'Preserving the Integrity of Incoherence'?: Dostoevsky, Gide and the Novel in Beckett's 1930 Lectures and Dream of Fair to Middling Women

Bolin, J. — Fri, 25 Sep 2009 06:22:49 PDT

Readers have long recognised the importance of Joyce and Proust on Beckett's artistic theory and practise. Yet despite the impressive body of criticism documenting such influences, Beckett's significant debts to one of his greatest early masters, André Gide, have gone virtually unnoticed. The first part of this essay uses archival materials to reconstruct Beckett's theory of the modern novel at a crucial point in 1930, immediately following his Proust monograph and preceding his first novel, Dream of Fair to Middling Women, by only months. It is shown that Beckett's novelistic theory at this time shifted away from his thinking in Proust toward an emphasis on divided subjectivity (as articulated in Gide's Dostoievsky), fragmented form, and a ‘new structure’ of the novel in Les Faux-Monnayeurs. An examination of Dream's debts to Gide follows, and a new reading of the novel emerges. It is argued that in Dream Beckett deployed a counter-novelistic theory inspired by Gide and his Dostoevsky to parody and subvert what Beckett termed the ‘European’ tradition.

The Poetic Purpose of the Offa-Digression in Beowulf

Leneghan, F. — Fri, 25 Sep 2009 06:22:49 PDT

The story of Offa and his bride interrupts the narrative of Beowulf at the seemingly inopportune moment of Beowulf's triumphant return to Hygelac's court. Scholars have struggled to explain the purpose of this passage, and it is often argued that it was clumsily added to the main body of the poem, perhaps in order to flatter Offa of Mercia or one of his descendants. More recently, the violent youth of Offa's; bride has attracted interest from feminist critics. But the poetic purpose of the story as a whole remains obscure. Considering the poem's pervasive interest in dynastic succession, I argue that the main purpose of this story is to foreground the benefits of royal marriage. This has implications for our understanding of Beowulf's subsequent career as king, during which he fails to marry or provide an heir, thereby placing his tribe at risk.

Responses to the Frame Narrative of John Gower's Confessio Amantis in Fifteenth- and Sixteenth-Century Scottish Literature

Martin, J. M. — Fri, 25 Sep 2009 06:22:49 PDT

The manuscript and documentary evidence for the circulation of John Gower's poetry in late medieval and early modern Scotland indicates a continued interest in this English poet well into the sixteenth century. However, the nature of the literary responses made by Older Scots writers to John Gower's Confessio Amantis (c.1390–3) remains a neglected aspect of Anglo-Scottish literary relations in this period. This article demonstrates that Gower's English poem was regarded as an important part of the literary heritage of fifteenth- and sixteenth-century Scottish writers and that they engaged with it in a number of creative and subtle ways. Three Scottish responses to the frame narrative of the Confessio Amantis are explored in detail: that found in the anonymous prose treatise, The Spectacle of Luf (c.1492), that of Gavin Douglas in The Palice of Honour (c.1501), and that of John Rolland's in his The Court of Venus (c.1560?). Through echoing or reworking specific narrative episodes and images from the framing device of the Confessio Amantis, these texts draw attention to their authors’ understanding of the thematic concerns of the English poem, and signal the importance of Gower's ethical and moral project to writers concerned with advice giving in late medieval and early modern Scotland.

A New Manuscript of Thomas More's 'Fortune Verses'

Edwards, A. S. G., Payne, M. T. W. — Fri, 25 Sep 2009 06:22:49 PDT

This article describes and prints the text of a previously unknown manuscript of Thomas More's Fortune Verses in the Guildhall Library, London. This version of More's poem is of particular interest because only one other manuscript of the poem has previously been recorded. In addition, the manuscript is very early in date and can also be linked circumstantially to figures associated with More's circle of acquaintance. Moreover, the manuscript format of the poem suggests the possibility that it may have been copied from a now lost printed edition. A full collation and textual comparison with other versions of More's poem is also included.

The Ph{oelig}nix and the Prince: The Poetry of Thomas Ross and Literary Culture in the Court of Charles II

Bond, C. — Fri, 25 Sep 2009 06:22:49 PDT

Thomas Ross (1620–1675), courtier, poet and tutor to the first Duke of Monmouth, is known principally because he was accused of encouraging Monmouth's hopes of the crown. But Ross's literary career deserves study, too, and this essay assesses the accusation against him as part of a fuller consideration of his life and writings. Ross was the first English translator of several works of Imperial Roman literature, and his version of Silius Italicus’ ‘Punica’, dedicated to Charles II, provides an illuminating example of how Classical literature was used by a courtier in a competition for the king's favour. But Ross also produced several anonymous pieces for Monmouth: an original poem on the Third Punic War and translations from Cicero and Claudian, together with a hitherto unstudied letter in MS. These works were plainly intended as mirrors for a prince. Monmouth was both a possible heir, with the favour of his royal father, but also illegitimate, with many enemies. Ross's consistently apt choices of examples and analogies for this peculiar situation demonstrate the learning and imagination behind his remarkable skill at refashioning the speculum principis. A proper examination of Ross thus advances our understanding not only of the history of translation and of a perplexing question of courtly intrigue, but also of the broader relationship between literature and politics in the Restoration.

'As Long-Winded as Possible': Southey, Coleridge, and The Doctor &c.

Chandler, D. — Fri, 25 Sep 2009 06:22:49 PDT

From around 1813 until his death three decades later, Robert Southey was working on his eccentric, unfinished masterpiece, The Doctor &c. Although five volumes were published in his lifetime, and two more posthumously, the comic story of ‘Doctor Daniel Dove of Doncaster and his horse Nobs’ on which the work is based, and which is promised from the beginning, is never told. The present essay reveals what that originating story was, and traces it back to its appearance in Christopher Smart's periodical, the Midwife, in 1752. It shows that Southey almost certainly heard the story of Nobs from Coleridge, who was entertaining his friends with this piece of nonsense by 1799, and probably much earlier, making the original short tale ‘as long-winded as possible’. The expanded story was designed for improvised performance, and ‘never told twice alike’ ; the reasons why Southey, with Coleridge's encouragement, eventually decided to produce a written version are examined, as are his subsequent difficulties in writing it. The Doctor &c. is Southey's finest and most individual work, a monument to his love of silly stories and friendship with Coleridge.

Literary Classics in OED Quotation Evidence

Considine, J. — Fri, 25 Sep 2009 06:22:49 PDT

This article discusses the use of quotation evidence from canonical literary texts in the Oxford English Dictionary. The proportionately high representation of quotations from authors such as Shakespeare and Scott in OED quotations has been discussed since the 1980s, and has been emphasised in some of the most important adverse criticism of the dictionary. After commenting on the historical background to the dictionary's treatment of literary quotation evidence, the article examines two kinds of claim which have been made about it: first, that the record of the English language is avoidably distorted by OED's past and continuing preference for quotations from canonical (and preponderantly male) authors, and second, that some choices made in the selection of quotation evidence appear to reflect the personal prejudices of OED editors. In evaluating these claims, it discusses the practicalities of gathering and replacing quotation evidence and the relationship of readers to different kinds of evidence, and analyses a number of OED entries with regard to the quotation material which they use or might have used.

SARAH STANBURY. The Visual Object of Desire in Late Medieval England.

Salih, S. — Fri, 25 Sep 2009 06:22:49 PDT

JENNIFER SUMMIT. Memory's Library: Medieval Books in Early Modern England.

Matthews, D. — Fri, 25 Sep 2009 06:22:49 PDT

GILLIAN AUSTEN. George Gascoigne.

Bates, C. — Fri, 25 Sep 2009 06:22:49 PDT

DIANA E. HENDERSON (ed.). Alternative Shakespeares 3.

Hedrick, D. — Fri, 25 Sep 2009 06:22:49 PDT

MARGARET JANE KIDNIE. Shakespeare and the Problem of Adaptation.

Aebischer, P., Barnes, J. — Fri, 25 Sep 2009 06:22:49 PDT

EDWARD HOLBERTON. Poetry and the Cromwellian Protectorate: Culture, Politics, and Institutions

McDowell, N. — Fri, 25 Sep 2009 06:22:49 PDT

DIANE KELSEY MCCOLLEY. Poetry and Ecology in the Age of Milton and Marvell.

Crabstick, B. — Fri, 25 Sep 2009 06:22:49 PDT

PAUL DAVIS. Translation and the Poet's Life: the Ethics of Translating in English Culture, 1646-1726

Smallwood, P. — Fri, 25 Sep 2009 06:22:49 PDT

JACK LYNCH. Deception and Detection in Eighteenth-Century Britain. * KATE LOVEMAN. Reading Fictions, 1660-1740

Bullard, R. — Fri, 25 Sep 2009 06:22:49 PDT

ERIK SIMPSON. Literary Minstrelsy, 1770-1830: Minstrels and Improvisers in British, Irish, and American Literature.

McLane, M. N. — Fri, 25 Sep 2009 06:22:49 PDT

ROSS WILSON (ed.). The Meaning of 'Life' in Romantic Poetry and Poetics.

Gigante, D. — Fri, 25 Sep 2009 06:22:49 PDT

PAUL H. FRY. Wordsworth and the Poetry of What We Are

Offord, M. — Fri, 25 Sep 2009 06:22:49 PDT

MARY POOVEY. Genres of the Credit Economy: Mediating Value in Eighteenth- and Nineteenth-Century Britain.

Lynch, D. S. — Fri, 25 Sep 2009 06:22:49 PDT

DOUG UNDERWOOD. Journalism and the Novel: Truth and Fiction, 1700-2000.

Robertson, M. — Fri, 25 Sep 2009 06:22:49 PDT

CATHERINE WATERS. Commodity Culture in Dickens's Household Words.

Buurma, R. S. — Fri, 25 Sep 2009 06:22:49 PDT

CATHERINE MAXWELL. Second Sight: The Visionary Imagination in Late Victorian Literature.

Riede, D. G. — Fri, 25 Sep 2009 06:22:49 PDT

SHAFQUAT TOWHEED (ed.). The Correspondence of Edith Wharton and Macmillan, 1901-1930.

Finkelstein, D. — Fri, 25 Sep 2009 06:22:49 PDT

GABRIELLE MCINTIRE. Modernism, Memory, and Desire: T.S. Eliot and Virginia Woolf.

Crangle, S. — Fri, 25 Sep 2009 06:22:49 PDT

DAVID PORTER. On the Divide: The Many Lives of Willa Cather.

Morley, C. — Fri, 25 Sep 2009 06:22:49 PDT

CHRISTINE BERBERICH. The Image of the Gentleman in Twentieth-Century Literature.

Lea, D. — Fri, 25 Sep 2009 06:22:49 PDT

Suicide in the Works of Aelfric

Clayton, M. — Tue, 23 Jun 2009 08:28:40 PDT

This article deals with the treatment of suicide in the works of Ælfric (c.950–c.1010). Suicide in the Middle Ages has recently been the subject of a two-volume study by Alexander Murray but he does not deal in detail with the period before 1000; this article attempts to remedy this deficit for one late Anglo-Saxon author. After an overview of how suicide was regarded in the early Middle Ages, Ælfric's treatment is considered in three parts: the suicides of biblical characters (those he omits as well as those he treated), the suicides of characters in texts concerned with saints (in his Catholic Homilies II texts for the feasts of St Stephen, St Matthew and St Martin) and, finally, a very suggestive passage in which he links fasting and suicide. The immediate sources for each of these passages are considered, as are other texts which appear to have influenced Ælfric's thinking. He evidently had at his disposal texts which took very different stances on suicide and, in some cases, as in the Life of St Martin, his own thinking seems to have been at odds with that of his source. How he negotiated these tensions is therefore revealing about his views on the matter. Ælfric's stance appears to have been a hard-line one, opposed to any concessions which would mitigate the guilt he attached to suicide. He knew, however, and occasionally drew on, the influential pronouncements on suicide in the group of texts associated with Theodore of Tarsus, archbishop of Canterbury from 668 to 690; these texts took into account the mental state of the person who took his or her own life and proposed various concessions with regard to burial rites depending on the circumstances. In linking fasting with suicide, Ælfric appears to have in mind the kind of suicidal delusions associated with excessive fasting in Cassian's Conlationes; he was clearly unwilling to discuss these in any detail but his cryptic allusion to the link between fasting and self-harm is in keeping with his suspicions about the ascetic solitary life. The article concludes by considering Ælfric's choice of word for a suicide; his preference was for agenslaga, recorded in his work only, at the expense of the seemingly more common sylfcwala.

The Criteria for Scribal Attribution: Dublin, Trinity College MS 244 Reconsidered

Horobin, S. — Tue, 23 Jun 2009 08:28:41 PDT

This article questions Alan J. Fletcher's recent attribution of the copying of Dublin, Trinity College MS 244 to the professional London scribe Adam Pynkhurst. A reconsideration of the palaeographical and linguistic evidence presented by Fletcher demonstrates that many of the idiosyncratic features of Pynkhurst's hand are missing from Trinity 244, while the features that they share are not sufficiently distinctive to support a claim for identity. The article also questions Fletcher's desire to associate the manuscript with a Pynkhurst ‘school’, arguing that the similarities he identifies lie in the Trinity Dublin scribe's use of a similar type of script, common to many vernacular manuscripts of the late fourteenth and early fifteenth centuries.

C. L. Kingsford: The Stonor Letters, and Two Chronicles

Hanham, A. — Tue, 23 Jun 2009 08:28:41 PDT

Norman Davis's edition of the Paston Letters and Papers of the Fifteenth Century, now completed by Richard Beadle and Colin Richmond, with a long-awaited glossary, enables linguists and historians to read for the first time what the Pastons and their correspondents actually wrote. No such authority attaches to the edition of the Stonor Letters and Papers, 1290-1483, which C. L. Kingsford offered in 1919. All too often, Kingsford's texts seriously misrepresent their originals. In one or two cases, a transcript owed everything to the copyist's imagination. In others, Kingsford printed readings that made no sense, without investigating their accuracy. His errors were perpetuated in the re-issue of the work that was published in 1996 as Kingsford's Stonor Letters and Papers, 1290–1483. At his time, Kingsford was the leading authority on fifteenth-century English history and historical writings, and some of his assumptions in English Historical Literature in the Fifteenth Century (1913) remain unchallenged. Two are here re-assessed in the light of a closer examination of the texts.

'A Credible Omen of a More Glorious Event': Sir Charles Cotterell's Cassandra

Major, P. — Tue, 23 Jun 2009 08:28:41 PDT

One of the most prevalent modes of writing in the English Revolution was romance translation, yet relatively few detailed studies of such works have been undertaken. This article explores the personal, political and psychological influences in Sir Charles Cotterell's Cassandra (1652), a translation of La Calprenède's prose romance, Cassandre (1642–9). It examines the work in the context of the widespread popularity of the romance genre in mid-seventeenth-century England, and considers the linguistic skills that Cotterell deployed, skills already demonstrated in his translation (with William Aylesbury) of Davila's Storia delle guerre civili di Francia (1630). It is most fundamentally concerned with locating Cassandra within the contemporary political climate of the early 1650s, when the royalist cause with which Cotterell sided was at its lowest ebb, and with setting it against the background of exile in Antwerp. It appraises the significance of the royal request to carry out the translation, and shows how this was imaginatively incorporated by Cotterell into an explicitly partisan dedication. The monarchical and pseudo-historical nature of La Calprenède's plots and characterisation meant that Cotterell's translation could remain rigorously faithful. This betrays telling complexities and ambiguities in royalist responses to defeat, though it fails to weaken the impression that Cassandra was a strategically aggressive act of cultural appropriation.

Mapping Northanger Abbey: or, Why Austen's Bath of 1803 Resembles Joyce's Dublin of 1904

Barchas, J. — Tue, 23 Jun 2009 08:28:41 PDT

Twin cases of mistaken identity activate the plot of Northanger Abbey. Escorted to Bath by a kindly Mr and Mrs Allen, the heroine promptly gets mistaken for the Allen heir. In turn, the Allens, a modestly-well-to-do country couple, are thought vastly rich. These catalysts for Austen's plot have never been investigated with an eye to an historical explanation, because being mistaken for an heiress neatly fits the Gothic model that Northanger Abbey decidedly spoofs. But Austen's fiction has an unacknowledged basis in historical fact, characteristically offering her peculiar brand of hyperrealism as a retort to the Gothic novel. In reality, Bath's largest private fortune, belonging to a genuine Mr and Mrs Allen, was in transition during precisely the years that Austen drafted her novel (Cassandra dated it to 1798 and 1799). The wealth amassed by Bath entrepreneur Ralph Allen (1693–1764), and held by a niece for over three decades, was just then reverting to obscure Allens living in the country. These historical circumstances warrant a fresh look at Northanger Abbey, where the many encoded references to Ralph Allen's architectural legacy reveal a historical specificity to Austen's method that rivals the cartographic exactitude of James Joyce.

Hengist's Brood: Tennyson and the Anglo-Saxons

Love, D. — Tue, 23 Jun 2009 08:28:41 PDT

Tennyson's Idylls of the King deepens its historical perspective through an awareness of the heathen as the future Anglo-Saxons. In possibly the first significant literary use of Beowulf, the poem incorporates motifs from Grendel's mere and the legend of Scyld Scefing, imposing them upon Arthur's kingdom and thereby undermining easy distinctions between Christian and barbarian. It invites a vision of civilisations rising and falling which, together with verbal echoes of In Memoriam, extends the evolutionary anxieties of that earlier poem to the realm of human history. The heathen elements from Beowulf become images of doubt about absolute Christian truths, and of the monstrous within that must be overcome for civilisation to prosper. The presence of those elements in the ‘Morte d’Arthur’ shows Tennyson's doubts and anxieties entwined with the death of Hallam, and the Idylls follow In Memoriam as another attempt to work through that grief and its attendant scepticism towards positive values. The Saxon conquest as an evolutionary step towards the British Empire is one such possible value.

MARTIN K. FOYS. Virtually Anglo-Saxon: Old Media, New Media, and Early Medieval Studies in the Late Age of Print.

O'donnell, D. P. — Tue, 23 Jun 2009 08:28:41 PDT

J. A. BURROW. The Poetry of Praise.

Woodcock, M. — Tue, 23 Jun 2009 08:28:41 PDT

ANDREW COLE. Literature and Heresy in the Age of Chaucer.

Winstead, K. A. — Tue, 23 Jun 2009 08:28:41 PDT

AMANDA HOLTON. The Sources of Chaucer's Poetics.

Bowers, J. M. — Tue, 23 Jun 2009 08:28:41 PDT

SAMANTHA J. RAYNER. Images of Kingship in Chaucer and his Ricardian Contemporaries.

Echard, S. — Tue, 23 Jun 2009 08:28:41 PDT

ELLIOT KENDALL. Lordship and Literature: John Gower and the Politics of the Great Household.

Watt, D. — Tue, 23 Jun 2009 08:28:41 PDT

DARRYLL GRANTLEY. London in Early Modern English Drama: Representing the Built Environment.

Gordon, A. — Tue, 23 Jun 2009 08:28:41 PDT

KIRK MELNIKOFF and EDWARD GIESKES (eds). Writing Robert Greene: Essays on England's First Notorious Professional Writer.

Dimmick, J. — Tue, 23 Jun 2009 08:28:41 PDT

DAVID MANN. Shakespeare's Women: Performance and Conception.

Aebischer, P. — Tue, 23 Jun 2009 08:28:41 PDT

DOUGLAS A. BROOKS (ed.). Milton and the Jews.

Reisner, N. — Tue, 23 Jun 2009 08:28:41 PDT

BLEVINS, JACOB (ed.) Re-Reading Thomas Traherne: A Collection of New Critical Essays.

Cefalu, P. — Tue, 23 Jun 2009 08:28:41 PDT

ELIZABETH KRAFT. Women Novelists and the Ethics of Desire, 1684-1814: In the Voice of Our Biblical Mothers.

King, K. R. — Tue, 23 Jun 2009 08:28:41 PDT

SAM GEORGE. Botany, Sexuality, and Women's Writing, 1760-1830: From Modest Shoot to Forward Plant.

Cook, E. H. — Tue, 23 Jun 2009 08:28:41 PDT

BRIAN GOLDBERG. The Lake Poets and Professional Identity.

Duggett, T. — Tue, 23 Jun 2009 08:28:42 PDT

ANGELA ESTERHAMMER. Romanticism and Improvisation, 1750-1850.

Simpson, E. — Tue, 23 Jun 2009 08:28:42 PDT

ISOBEL ARMSTRONG. Victorian Glassworlds: Glass Culture and the Imagination.

Flint, K. — Tue, 23 Jun 2009 08:28:42 PDT

MARION THAIN. 'Michael Field': Poetry, Aestheticism and the Fin de Siecle.

Harrington, E. — Tue, 23 Jun 2009 08:28:42 PDT

JEAN MICHEL-RABATE. 1913: The Cradle of Modernism.

Walton, O. — Tue, 23 Jun 2009 08:28:42 PDT

THOMAS DILWORTH. Reading David Jones.

Corcoran, N. — Tue, 23 Jun 2009 08:28:42 PDT

CLAIRE SQUIRES. Marketing Literature: The Making of Contemporary Writing in Britain.

Towheed, S. — Tue, 23 Jun 2009 08:28:42 PDT

Singing to the Silent Sentinel: 'Preiddeu Annwn' and the Oral Tradition

Adderley, M. — Mon, 27 Apr 2009 07:49:37 PDT

Playbooks and Printed Drama: A Reassessment of the Date and Layout of the Manuscript of the Croxton Play of the Sacrament

Atkin, T. — Mon, 27 Apr 2009 07:49:37 PDT

Did Shakespeare Own his Own Playbooks?

Gurr, A. — Mon, 27 Apr 2009 07:49:37 PDT

'An old quarrel between us that will never be at an end': Middleton's Women Beware Women and Late Jacobean Religious Politics

Streete, A. — Mon, 27 Apr 2009 07:49:37 PDT

In this article, I examine Thomas Middleton's Women Beware Women as a response to the particular religio-political context in the years surrounding 1621. The onset of the Thirty Years War in 1618 and the subsequent humiliation of James' son-in-law Frederick, Elector of Palatine, the vexed question of a possible Catholic marriage for Charles, Prince of Wales, the ever present difficulty of Anglo-Catholic relations, particularly with Spain, as well as growing religious factionalism within the Church of England between Calvinists and Arminians: all contributed towards a culturally febrile atmosphere, one to which, as I will argue, Middleton was well placed to respond. Given Middleton's Calvinistic beliefs, I suggest that Women Beware Women offers an acerbic examination of contemporary debates concerning human will, especially women's will, as well as promoting a sceptically apocalyptic anti-Catholic agenda throughout. I also examine the religious language and imagery used to construct Bianca as the whore of Babylon, and argue that her emergence and fall offer a political commentary on the precarious position of the English Church around 1621.

Representations of the Interregnum and Restoration in English Drama of the early 1660s

Bywaters, D. — Mon, 27 Apr 2009 07:49:37 PDT

The plays staged in London immediately after the Restoration are often said to reflect an unqualified royalism. In fact these plays are guarded and ambivalent in their politics, so that they may appeal to spectators who occupied various social levels and held often opposed political opinions. Where the Restoration appears specifically, it appears within the ordinary world of comedy, and always accompanied by some qualifying element that would have provided comfort to its victims.

Gerard Manley Hopkins, Plainsong and the Performance of Poetry

Coren, P. — Mon, 27 Apr 2009 07:49:37 PDT

This article examines the effects of Hopkins's devotion to plainsong on his poetry and theory of poetry. It is written for literary specialists and students of Hopkins's poetry, requiring no specialist musical knowledge, and does not discuss the relationship of music and poetry or Hopkins's own compositions. It places his interest in early music in the context of his aesthetic development generally and proposes that Hopkins's knowledge of the unmeasured and unbarred music of plainsong provided an impetus to his move away from standard verse rhythms and his development of sprung rhythm. Its second proposition is that Hopkins's declamatory or rhetorical models of poetry and his placing of poetry in the context of performance also stem from his belief in plainsong as ‘perfect recitative’. It is based on a study of the letters and journals and contains some discussion and analysis of the poems and Hopkins's own directions on reading them.

VERONICA O'MARA and SUZANNE PAUL (eds). A Repertorium of Middle English Prose Sermons.

Gillespie, V. — Mon, 27 Apr 2009 07:49:37 PDT

WILLIAM F. WOODS. Chaucerian Spaces: Spatial Poetics in Chaucer's Opening Tales.

Ganim, J. M. — Mon, 27 Apr 2009 07:49:37 PDT

MATTHEW GIANCARLO. Parliament and Literature in Late Medieval England.

Turner, M. — Mon, 27 Apr 2009 07:49:37 PDT

JENNI NUTTALL. The Creation of Lancastrian Kingship: Literature, Language and Politics in Late Medieval England.

Kerby-Fulton, K. — Mon, 27 Apr 2009 07:49:37 PDT

JANE BLISS. Naming and Namelessness in Medieval Romance.

Ashe, L. — Mon, 27 Apr 2009 07:49:37 PDT

RALPH NORRIS. Malory's Library: The Sources of the Morte Darthur.

Moore, H. — Mon, 27 Apr 2009 07:49:37 PDT

JOANNA MARTIN. Kingship and Love in Scottish Poetry, 1424-1540.

van Heijnsbergen, T. — Mon, 27 Apr 2009 07:49:37 PDT

SUBHA MUKHERJI and RAPHAEL LYNE (eds). Early Modern Tragicomedy.

Wilcox, H. — Mon, 27 Apr 2009 07:49:37 PDT

JAYNE ELIZABETH ARCHER, ELIZABETH GOLDRING, and SARAH KNIGHT (eds). The Progresses, Pageants, and Entertainments of Queen Elizabeth I.

Manley, L. — Mon, 27 Apr 2009 07:49:37 PDT

ROBERT KEAN TURNER and VIRGINIA WESTLING HAAS (eds), with ROBERT A. JONES, ANDREW J. SABOL, and PATRICIA E. TATSPAUGH. A New Variorum Edition of Shakespeare. The Winter's Tale.

Vickers, B. — Mon, 27 Apr 2009 07:49:37 PDT

GARY TAYLOR and JOHN LAVAGNINO (eds). Thomas Middleton: The Collected Works and Companion.

Hutchings, M., O'Callaghan, M. — Mon, 27 Apr 2009 07:49:37 PDT

THOMAS F. BONNELL. The Most Disreputable Trade: Publishing the Classics of English Poetry, 1765-1810.

Lock, F. P. — Mon, 27 Apr 2009 07:49:37 PDT

MARGARET MARKWICK. New Men in Trollope's Novels: Rewriting the Victorian Male.

Gilmartin, S. — Mon, 27 Apr 2009 07:49:37 PDT

PATRICIA PULHAM. Art and the Transitional Object in Vernon Lee's Supernatural Tales.

Vicinus, M. — Mon, 27 Apr 2009 07:49:37 PDT

DAVID TROTTER. Cinema and Modernism.

Williams, K. — Mon, 27 Apr 2009 07:49:37 PDT

ANNA SNAITH and MICHAEL H. WHITWORTH (eds). Locating Woolf: The Politics of Space and Place.

Thacker, A. — Mon, 27 Apr 2009 07:49:37 PDT

BONNIE KIME SCOTT (ed.). Gender in Modernism: New Geographies, Complex Intersections.

Goldman, J. — Mon, 27 Apr 2009 07:49:37 PDT

SARAH DILLON. The Palimpsest: Literature, Criticism, Theory.

Whalen, C. — Mon, 27 Apr 2009 07:49:37 PDT

R. S. WHITE. Pacifism and English Literature: Minstrels of Peace.

Norbrook, D. — Mon, 27 Apr 2009 07:49:37 PDT

RAY SIEMENS and SUSAN SCHREIBMAN (eds.). The Blackwell Companion to Digital Literary Studies.

Warwick, C. — Mon, 27 Apr 2009 07:49:37 PDT