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Under the combined effects of the Protestant and Catholic Reformations within and pressure from the Ottoman Empire without, early modern Europe became a site in which an unprecedented number of people were confronted by new beliefs, and collective and individual religious identities were broken down and reconfigured. Conversions: gender and religious change in early modern Europe is the first collection to explicitly address the intersections between sexed identity and religious change in the two centuries following the Reformation. The varied and wide-ranging chapters in this collection bring the Renaissance 'turn of the soul' into productive conversation with the three most influential ‘turns’ of recent literary, historical, and art historical study: the ‘turn to religion’, the ‘material turn’, and the ‘gender turn’. Contributors consider masculine as well as feminine identity, and consider the impact of travel, printing, and the built environment alongside questions of genre, race and economics. Of interest to scholars of early modern history, literature, and architectural history, this collection will appeal to anyone interested in the vexed history of religious change, and the transformations of gendered selfhood. Bringing together leading scholars from across the disciplines of literary study, history and art history, Conversions: gender and religious change offers novel insights into the varied experiences of, and responses to, conversion across and beyond Europe. A lively Afterword by Professor Matthew Dimmock (University of Sussex) drives home the contemporary urgency of these themes, and the lasting legacies of the Reformations.

This anthology makes accessible to readers ten little-known and understudied works by seventeenth-century women (edited from manuscript and print) that explore the relationship between spiritual and physical health during this period. Providing a detailed and engaging introduction to the issues confronted when studying women's writing from this period, the anthology also examines female interpretations of illness, exploring beliefs that toothache and miscarriage (and other complications involving pregnancy) could be God's punishments, but also, paradoxically, that such terrible suffering could be understood as proof that a believer was eternally beloved. Many of the extracts in the anthology present illness as an important part of women's conversion, confirming their religious beliefs, but some women interpreted bodily dysfunction as the result of the Devil's temptations, in some cases leading them to practise starvation and attempt suicide. Unlike many previous studies of seventeenth-century women's writing, this anthology considers both religious and medical contexts for the works, demonstrating the importance of an interdisciplinary approach to studying them, and these contexts are both discussed at length in the book's introduction. Each of the ten extracts also has its own introduction, highlighting relevant contexts and further reading, and is fully annotated.

The rhetoric of ideology haunts Irish fiction. In this book, I map these rhetorical hauntings across a wide range of postcolonial Irish novels, and define the specter as a non-present presence that simultaneously symbolizes and analyzes an overlapping of Irish myth and Irish history. By exploring this exchange between literary discourse and historical events, Haunted Historiographies provides literary historians and cultural critics a theory of the specter that exposes the various complex ways in which novelists remember, represent, and reinvent historical narrative. Haunted Historiographies juxtaposes canonical and non-canonical novels that complicate long-held assumptions about four definitive events in modern Irish history—the Great Famine, the Irish Revolution, the Second World War, and the Northern Irish Troubles—to demonstrate how historiographical Irish fiction from James Joyce and Samuel Beckett to Roddy Doyle and Sebastian Barry is both a product of Ireland’s colonial history, and also the rhetorical means by which a post-colonial culture has emerged.

Literary Visions of Multicultural Ireland is the first full-length monograph in the market to address the impact that Celtic-Tiger immigration has exerted on the poetry, drama and fiction of contemporary Irish writers. The book opens with a lively, challenging preface by Prof. Declan Kiberd and is followed by 18 essays by leading and prestigious scholars in the field of Irish studies from both sides of the Atlantic who address, in pioneering, differing and thus enriching ways, the emerging multiethnic character of Irish literature. Key areas of discussion are: What does it mean to be ‘multicultural,’ and what are the implications of this condition for contemporary Irish writers? How has literature in Ireland responded to inward migration? Have Irish writers reflected in their work (either explicitly or implicitly) the existence of migrant communities in Ireland? If so, are elements of Irish traditional culture and community maintained or transformed? What is the social and political efficacy of these intercultural artistic visions? While these issues have received sustained academic attention in literary contexts with longer traditions of migration, they have yet to be extensively addressed in Ireland today. The collection will thus be of interest to students and academics of contemporary literature as well as the general reader willing to learn more about Ireland and Irish culture. Overall, this book will become most useful to scholars working in Irish studies, contemporary Irish literature, multiculturalism, migration, globalisation and transculturality. Writers discussed include Hugo Hamilton, Roddy Doyle, Colum McCann, Éilís Ní Dhuibhne, Dermot Bolger, Chris Binchy, Michael O'Loughlin, Emer Martin, and Kate O'Riordan, amongst others.

This book takes four stories by the Russian Romantic author Vladimir Odoevsky to illustrate ‘pathways’, developed further by subsequent writers, into modern fiction. Featured here are: the artistic (musical story), the rise of science fiction, psychic aspects of the detective story and of confession in the novel. The four chapters also examine the development of the featured categories by a wide range of subsequent writers in fiction ranging from the Romantic period up to the present century. The study works backwards from Odoevsky's stories, noting respective previous examples or traditions, before proceeding to follow the ‘pathways’ observed into later Russian, English and comparative fiction.

This study explores the landscape of contemporary British fiction through detailed analysis of five authors that have emerged to critical prominence in the 21st century. The authors addressed - Ali Smith, Andrew O’Hagan, Tom McCarthy, Sarah Hall, and Jon McGregor – have all established themselves through popular and critical success, but have received significantly less attention than some of their peers. This book does not seek to thrust these authors into a putative canon of 21st century literary writing, but rather to explore through close attention to the resonances, continuities, elisions, and frictions across their works the temper of the contemporary moment as it is expressed by a group of writers. Each is devoted a chapter that analyses their creative output to-date within the frame of their stylistic and thematic development, as well as drawing comparisons across their writing and that of their peers. The intention is never to provide the kind of synoptical overview that a period-study might suggest, instead Twenty-First Century Fiction: Contemporary British Voices seeks to juxtapose critical readings within a constellation of contemporary literary concerns to examine what cultural energies and flows are emerging in the new century. In doing so, it identifies three recurrent areas of concern that might be said to infiltrate our times; these are Materiality, Connectivity, and Authenticity. In many forms and through many articulations, these issues emerge as insistent – if inchoate – questions about how current literary practice is responding to the challenge of the post-millennial world.

This book argues that disenchantment is not only a response to wartime experience, but a condition of modernity with a language that finds extreme expression in First World War literature. The objects of disenchantment are often the very same as the enchantments of scientific progress: bureaucracy, homogenisation and capitalism. Older beliefs such as religion, courage and honour are kept in view, and endure longer than often is realised. Social critics, theorists and commentators of the late nineteenth and early twentieth centuries provide a rich and previously unexplored context for wartime and post-war literature. The rise of the disenchanted narrative to its predominance in the War Books Boom of 1928 – 1930 is charted from the turn of the century in texts, archival material, sales and review data. Rarely-studied popular and middlebrow novels are analysed alongside well-known highbrow texts: D. H. Lawrence, Virginia Woolf, H. G. Wells and Rebecca West rub shoulders with forgotten figures such as Gilbert Frankau and Ernest Raymond. These sometimes jarring juxtapositions show the strained relationship between enchantment and disenchantment in the war and the post-war decade.