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A classic of Canadian fiction, first published in 1864. The novel has gone through several editions. This is the most meticulously annotated, with a chronology, a critical introduction, and the author's last short story in an appendix.

A comprehensive study of the vampire in nineteenth-century literature. The nineteenth-century vampire has been inadequately studied until now, being usually investigated as a precursor to twentieth- and twenty-first-century fiction. On the contrary, this book studies the vampire of the nineteenth century free of any reference to later developments, exploring instead key topics such as the origins of the vampire in Icelandic and other medieval European texts; issues of gender and sex; and, because the vampire is almost always treated solely as egotistical, maniacal, and animalistic, any instances of sympathy and mercy shown by nineteenth-century vampires. By looking at earlier cultural roots of the fictional monster, this book offers a fresh understanding of how, why, and where the myth of the vampire came into being.

In its entirety, this volume endeavors to examine how 21st-century media presents and contends with the body and mind of the monster. What do monsters reveal about us as a cultural community?

A postcolonial study of racism in Gothic narratives. Gothic is a culture of alterity: it explores the Other and it posits itself as an Other. It found its roots in the concerted efforts of eighteenth-century authors who longed for the simple and exciting plotlines of medieval romances. At the same time, they were careful to populate other countries and/or other eras with ghosts, vampires, and monstrous villains. More recently, Gothic studies have flourished alongside a plethora of Gothic fiction, movies, and TV shows. These new works employ the genre's conventional themes and cast of characters while adding new features for new audiences. The perception of the Other has changed while a predilection for othering has endured. This collection of essays analyzes the various manifestations of racism in Gothic narratives: literature, film, TV, and architecture. Essays range from traditional topics and interpretations of Gothic as a vehicle for racism to Gothic as a subversion and resistance to white, heteronormative privilege.

A first anthology of its kind, A Dark Conspiracy and Other nineteenth-Century Canadian Short Stories in English anthologizes the best stories written by Canadians.Short fiction is the most modern genre in nineteenth-century Canadian literature. It is perfectly synchronous with short-story developments in the United States and Europe. While they contributed to the establishment of a "national" Canadian literature with their fact-based realism, nineteenth-century short-story writers in Canada also explored new literary forms and tried to capture the fleeting nature of modern life.The present anthology of nineteenth-century Canadian short stories is the most comprehensive ever published. It is also the most inclusive: of the thirty-five stories selected, eighteen were written by women.

Adult childlikeness is familiar to everyone. However, childlikeness remains a little-studied and catchall concept whose more or less ameliorative or pejorative meaning can vary considerably depending on time and place, but also on disciplines. Like A Child Would Do: An Interdisciplinary Approach to Childlikeness in Past and Current Societies attempts to pierce this conceptual fog.Navigating between classical Chinese fiction, Shakespearean characters, the arts, consumer society, psychoanalysis, evolutionary theories, interactions with computers at work, toy play, or law courts, this book provides a better understanding of the concept and highlights its continuing negotiation given its capacity to symbolize the character of our societies, notably our roles and degree of freedom within these roles.

The Piazza Tales is more approachable and just as compelling as any of Melville's longer works. In its six short stories, we find, among other fascinating characters, an office worker who refuses to work, a shipload of rebellious slaves, at least one charlatan, several unhinged sailors, some outright madmen, a marooned woman, and a secretive, self-destructive inventor. In addition, as pretentious as it might sound, there are life lessons to be learned, and solace to be had, in the two undoubted masterpieces of the book: "Bartleby, the Scrivener" and "Benito Cereno." The first will be relevant as long as paperwork endures, while the second is a commentary on race relations that is as vital today as it was when it was written in the mid-1850s.

The nineteenth-century vampire has been inadequately studied until now, being usually investigated mainly as a precursor to twentieth- and twenty-first fictions. On the contrary, this book studies the vampire of the nineteenth century free of any reference to later developments, exploring instead other key topics, such as: the origins of the vampire in Icelandic and other medieval European texts; issues of gender and sex; and, because the vampire is almost always treated solely as egotistical, maniacal, and animalistic, any instances of sympathy and mercy shown by nineteenth-century vampires.All this means that very little of the text deals explicitly with Dracula. Stoker's novel was published in 1897 so it had virtually no influence on nineteenth-century vampire narratives; rather, its impact has been on the twentieth- and twenty-first centuries. However, as vampires and bats were often conflated in the nineteenth century and before, one crucial chapter ("'Blood Suckers Most Cruel:' The Vampire and the Bat in and before Dracula") looks at the bat and the monster together. Here, "vampire" is used to refer to the bat, in keeping with descriptions from the sixteenth to the nineteenth century. Stoker's monster was definitely not the first instance of the bat and the undead becoming as one. Yet Stoker's use of the contemporary views on large and menacing bats that can spy, sedate, hypnotize, and prey upon their victims, so as to create a powerful and intimidating weapon in a wide arsenal to be wielded by a relentless, foreign, imperial monster bent on conquest in the very heart of the British Empire is quite staggering.The cultural roots of the fictional monster which became iconic in the last 125 years should nevertheless be analyzed with complete disregard for its more recent developments. Only in this way, as this book suggests, can we finally understand how, why, and where the myth of the vampire came into being.

This collection aims to be inclusive and representative of the journey of precarity for those in higher education in Canada. As such, it includes reflections and articles from those who have taught in post-secondary education from across Canada, as well as representation not just from those who teach but also those who have experienced the precarity of higher education either from the position of union organizers or as students in the higher education system. The texts are both in the form of critical engagement with the academic discourse and research as well as reflective memoirs on experiences of educational precarity from numerous social locations.Amber Riaz provides many effective strategies for alleviating precarious hiring practices in higher education in Canada, while simultaneously outlining the biased and inequitable practices in hiring.Michelle Majeed highlights the trend in Canadian higher education of personal and health distress experienced by students and faculty and how that intersects with precarious employment.Veronica Austen speaks from the position of someone who was once precariously employed for many years and has now secured a tenured position.Gayle McFadden speaks of precarity as witnessed as both a student, and as a student representative.Pheobe Anderson outlines a journey from a life of precarity to an educational experience of precarity.Cristina Artenie explores a forgotten precarious category: immigrant scholars with Canadian graduate credentials.Ann Gagné looks into what can be done to encourage continued dialogue and a more equitable and accessible educational environment.

The Vampyre and other British stories of the Romantic era includes the best short fiction published in Britain during the first decades of the 19th century. The period, associated with the "rise of the tale," saw every year the arrival of new periodicals dedicated, entirely or partially, to the publication of short stories. Many authors, in all corners of the kingdom, also regularly published their own short-story collections, often in a series of volumes.The period between 1800 and 1832, from which the stories in this volume have been selected, is especially associated with the great English Romantic poets, as well as with their aesthetic creeds, their predilection for leaps of fantasy, larger-than-life characters and uncanny situations. This is also one of the two important trends in the production of short stories at the time. Authors like Joseph William Polidori, John Galt, William Harrison Ainsworth and Walter Scott (all included here) incorporated Gothic elements into their own take on Romanticism, in which Byronic heroes become vampires and travel to Greece or become immortal and condemned to eternal peregrination; in which characters are buried alive or forced to face the ghost of someone who died centuries before.Another trend in the British fiction of the early 19th century reflected in these stories is a reaction against exotic locales, remote time periods, and fantastic or outlandish plot elements. This trend, epitomised in the novels by Jane Austen, is manifest in some of the stories included in this volume, by authors such as Maria Edgeworth, Amelia Opie, Mary Russell Mitford, Anna Maria Hall, and Anna Brownell Jameson. They used a tame form of Romanticism or romantic realism, to which they often added social commentary, interwoven with sentimentalism and irony, two strands inherited from 18th-century fiction. Some simply followed two models: "Nature and Miss Austen," as one of the authors anthologised here (Mitford) puts it.For the student of the Romantic era in British literature, this is an indispensable instrument, as it allows a synchronic view of a period in which Romanticism coexisted both with earlier traditions and with the realistic and naturalistic trends from which would emerge the great British novels of the mid- and late 19th century.

Victorian England's best-selling woman novelist Mary Elizabeth Braddon still captivates readers with this chilling story of murder, betrayal, and friendship. Hailed as the first detective novel, The Trail of the Serpent is enjoying a much deserved revival. The Trail of the Serpent is both a sensation novel and a detective novel. It has all of the usual elements of a sensation novel, including family secrets, crime, and adultery (a ruse, in this case), and it depicts these as features of middle- and upper-class life. Yet The Trail's role as a detective novel is arguably more important, for while it is an early example of both genres, it has the distinction of being the first British detective novel. It predates, and, in many respects, influenced Wilkie Collins's Moonstone and Arthur Conan Doyle's Sherlock series, but unlike these works, The Trail's place in the history of detective fiction has often been overlooked."Readers will find a great deal of social criticism, some subtle and some not so subtle, in Braddon's fearless first novel. There are attacks on hypocrisy, the permanency of marriage, and other topics, but The Trail is especially progressive in its portrayal of physical difference (or "disability") and hand-based communication. In this respect, it stands out against other Victorian novels, many of which have acquired a dismal reputation for contributing to the creation of "disability" as a concept that stigmatizes and marginalizes real-life people.In The Trail, Braddon often represents her female characters in ways that defy typical Victorian gender norms. Unlike some of Dickens's novels, there are no doll-like women or perfect Angel-in-the-House heroines. Today, it continues to be as fascinating in its social commentary as it is entertaining to read." (Catherine M. Welter, Introduction to The Trail of the Serpent)

Journey to the Center of the Mind, a best selling book of interviews published in Romania a few years ago, is now available to English-speaking readers. The interviews with world-renowned neurosurgeon, university professor, and inventor of a drain system for the brain Alexandru Vlad Ciurea are a window into a life lived with humility, always in the best interest of the patient and of the fellow man.Despite adverse historical conditions, which include a world war and the tough communist regime, Professor Ciurea's life story is one filled with joy, optimism, and life lessons for all of us.In this series of interviews with writer and journalist Tudor Artenie, the professor talks about what constitutes a good childhood and education; about good habits and health issues; about the benefits of a glass of red wine and of a good book. His honest take on what and how people can get the most out of their lives comes at a critical moment, when competing discourses are drowning us in noise and we do not know where to look for guidance anymore. Take the journey with him and learn from a neurosurgeon who has operated on over twenty-three thousand patients and has never lost one.

The purpose of this book is to explain the U.S. higher education precariat and the digital precariat to the world at large, and to document with overwhelming evidence that the precariat in higher education and in the Internet economy disproportionately involves women.This thematic volume addresses gender disparities in pay, professional support, and job security in both the higher education work force and the work force in the newer digital economy.We hope that our book will help change the culture of silence. This book is a labor of love; in the long run, we hope that our work will encourage others to devote attention to some egregious problems that ultimately affect everyone.

The introductory course can be used as a catch-all for nearly everything first-year students may need to learn as they begin academic study.There is a difference between streamlining an approach to an Introduction to Literature course and dumbing down the material. Practical considerations are important when developing any course, and they certainly are in an introductory course.Instructors may need to deal with diverse, inexperienced students in short blocks of class time, possibly within contexts of high departmental expectations, even as they are cognisant of a need to preserve personal well being while balancing the daily demands of course delivery and marking. We learned over time to select topics and works carefully, and then to pack their presentation with rich and important elements relevant and interesting to a variety of students.

The contemporary popular cultural space has leveraged the queer in the same format of representation as its presentation in the 1990s. Although the queer is portrayed in a less perverse light than a decade ago, popular cultural representations of the queer in the visual culture genres are still on the level of the banal. While popular culture has become more encouraging towards the queer, the broader cultural opinion about the queer has been progressively more skeptical, compromised by the idea that the queer is encroaching on spaces reserved exclusively for heteronormative recreation. The essays in this volume look closely at how the queer is portrayed across media and throughout the world. * It is imperative that analyses of popular cultural depictions and presentations of the queer are performed with the extensive intent towards encouraging a politics of inclusion and towards deterring the abjection of the queer subject in popular cultural portrayals. * Placing Visual Cultures in a Queer Context - Subashish Bhattacharjee; Queeerness and the Limits of Criticism in Lars von Trier's Nymphomaniac - William J. Simmons; Queering Yerevan-Politics of Location: A Feminist Material Analysis of Dis/Orientations of Self-Defined Artistic Labour - Elke Krasny; The Visual Representation of Queer Bollywood: Mistaken Identities and Misreadings in Dostana - Rohit K. Dasgupta; Mobbing, Bullying, and the Queer Victim in Slasher Films from the 1980s - Fernando Gabriel Pagnoni Berns, Canela Ailen Rodriguez Fontao and Mariana Zárate; 'Gross Indecency': Depicting Oscar Wilde on Stage - Argha Banerjee; "Just Say Yes": Queer Theatrical Portrayals of AIDS and the Rejection of Safer Sex - Lara S. Narcisi; Performing Queer Identities and Mainstreaming Gay Culture in Glee - Fanny Beuré; 1980-The Year to Fear the Queer: Violent Responses to Patriarchy and Gender-bending in Cruising and Dressed to Kill - David Klein Martins; "So you Thought we would Go away?": Confronting Shaming in Lillian Hellman's The Children's Hour - Anna Fahråeus; Coming Together: Pride and Queer Social Realism - Florian Zitzelsberger

The first collection of its kind: 18th-century British short stories. Connoisseurs will partake in Humour, Mores, and Adventures of Gentlemen and Gentleladies in London and where so e'er in England and North Britain.47 stories, some of them never before anthologized. Authors include: Ned Ward, Daniel Defoe, Richard Steele, Delarivier Manley, Joseph Addison, Thomas Gordon, Jonathan Swift, Eliza Haywood, Matthew Concanen, Erasmus Philips, Elizabeth Singer Rowe, Henry Fielding, Samuel Johnson, Christopher Smart, John Hawkesworth, Edward Moore, John Boyle, George Colman the Elder, Bonnell Thornton, Thomas Warton, Oliver Goldsmith, Alexander Kellet, Isaac Bickerstaff, Thomas Chatterton, John Aikin, Elizabeth Griffith, Henry Mackenzie, Leonard McNally, Horace Walpole, Alexander Fraser Tytler, Nathan Drake, Robert Burns, Mary Hays, Maria Edgeworth, Hannah More.

The Romantic poet is both man and myth. He inherits an ancient birthright and creates a new heritage. He is prophet, seer, priest, bard, creator of (imaginative) worlds, hero, and myth-maker. He is also a man speaking to other men. Poets are, according to Shelley, the vehicles for the spirit of the age and for the ages to come; they are "the unacknowledged legislators of the world." In fact, in his Defense of Poetry (1821), Shelley endows both poetry and the poet with divine power, labeling the former "immortal creations" and the latter a person who "participates in the eternal, the infinite and the one."The poets in this anthology would all define imagination differently; however, they all espoused the primacy of imagination and placed it as the root source for creativity. Imagination is, according to Coleridge, "the living Power and prime Agent of all human perception." Blake declared that imagination can "see a World in a Grain of Sand/And a Heaven in a Wild Flower." Wordsworth wrote that "Imagination . . . in truth/ Is but another name for absolute power/ And clearest insight."With its over 120 poems arranged in chronological order, the present anthology follows very closely the development of Romantic poetry in Britain from its beginnings in the 1780s to the early years of Victoria's reign.This is also the most diverse anthology of Romantic literature: out of twenty-seven authors, fifteen are male and twelve female. The reader will be able to see how the female poets of the Romantic Movement found self-empowerment in the construction, articulation and publication of a feminized poetic identity.

onsters seem to be here to stay. Though we have left belief in the supernatural and "realness" of monsters in the past, we continue to craft monstrous narratives which delve into the depths of the human subconscious. In certain cases, we love to love the monster. In others, we bond over mutual desire to see it conquered, vanquished. The inherent mutability of the monster provides us with endless opportunities to reimagine, reenvision, and reencounter these creatures. This volume contains discussions and dissections of monsters across multiple media and geographical origins. However, the notable shifts in how we engage monsters and monstrosity feature heavily in this text. Our contributors tackle resurrections of previous series and conversations through films like Jurassic World and Krampus. Others gravitate towards the rebirth of some of the older, tried and true monsters like the vampire and the zombie, including analyses of Pride and Prejudice + Zombies, The Originals, The Vampire Diaries, iZombie, and Teen Wolf-all of which reinterpreted and reinvented these creatures for the modern audience. While the text serves to address these new iterations of the "Classic" monsters in the canon, others take a look at stranger, more fringe monster narratives like Pan's Labyrinth, The Village, or even the very real parasitic monstrosities of Monsters Inside Me. Though many of these chapters will analytically address particular texts, like the long-running series Supernatural, others will take on the metanarrative surrounding trends within monster studies, such as the construction of identity, creation or representation of the soul, or the ongoing questions of authorship and agency within a particular story world. In its entirety, this volume endeavors to examine how 21st-century media presents and contends with the body and mind of the monster. What do they reveal about us culturally, individually, as a community? What can we learn from them?

*Histopias are fictional retellings of the history of the world *They inquire into the remote past and/or future of mankind *History as narrated by histopias is unity in fragmentariness *Authors of histopias include Julian Barnes, David Mitchell, Bernard Shaw, Roberto Calasso, Carlos Fuentes, Jorge Luis Borges.

This is a scholarly edition addressing different expectations of the readership, by including both the original text and an updated version. In the former, today's readers can follow the unadulterated voice of the narrator, Fanny Hill, with all the lexical and grammatical blunders of a "country girl." In the latter, the spelling and the punctuation have been corrected, but strictly according to eighteenth-century standards, so that nothing of the tone and flavour of the original text is lost. This is the most extensively annotated edition of Cleland's novel with over 300 explanatory notes.