Böcker i University of Toronto Romance Series-serien

From two world wars to rapid industrialization and population shifts, events of the twentieth century engendered cultural anxieties to an extent hitherto unseen, particularly in Europe. In Telling Anxiety, Jennifer Willging examines manifestations of such anxieties in the selected narratives of four women writing in French – Marguerite Duras, Nathalie Sarraute, Annie Ernaux, and Anne Hebert. Willging demonstrates that the anxieties inherent in these women's works (whether attributed to characters, narrators, or implied authors) are multiple in nature and relate to a general post-Second World War scepticism about the power of language to express non-linguistic phenomena such as the destruction and loss of life that a large portion of Europe endured during that period. Willging maintains that while these women writers are profoundly wary of language and its artificiality, they eschew the radical linguistic scepticism of many post-war male writers and theorists. Rather, she argues, the anxiety that these four writers express stems less from a loss of faith in language's referential function than from a culturally ingrained doubt about their own ability as women to make language reflect certain realities. Ultimately, Telling Anxiety shows the crippling obstacles of literary agency for women in the twentieth century from the perspective of those who fully understood the significant responsibility of their work.

The Persistence of Presence analyzes the relationship between emblem books, containing combinations of pictures and texts, and Spanish literature in the early modern period.

Victims of the Book shows how the adolescent male reader became a subject of grave social concern in late-nineteenth-century France and how a new generation of writers later reworked the novel to subvert cultural norms about masculinity.

Writing by Ear examines the explicit articulation of listening-in-writing found in the work of Brazilian novelist Clarice Lispector. The terms "writing by ear," the "aural novel," and "echopoetics" rethink fiction as a poetics of listening to the world.

Objects Observed explores the central place given to the object by a number of poets in France and in America in the twentieth century.

French Ecocritique is the first book-length study of the culturally specific ways in which contemporary French literature and theory raise questions about nature and environment.

Postcolonial Counterpoint is a critical study of Orientalism and the state of Francophone and postcolonial studies, examined through the lens of the historical and cross-cultural relations between France and North Africa.

Theoretically eclectic and methodologically innovative, Transnational Cervantes opens up many avenues for research and debate, aiming to bring Cervantes' writings forward into the brave new world of our postcolonial age.

Daniel Russell demonstrates how the emblematic forms emerged from the way illustrations were used in late medieval French manuscript culture, how the forms were later disseminated in France, and how they functioned within early modern French culture and society.

This study outlines and reiterates the relationship of theatre to casuistry, the Jesuit contributions to Spanish literary theory and practice, and the importance of casuistry for the study of early modern subjectivity.

Juxtaposing pre-eminent and popular writers, Cuill reads their fictional works in light of their treatises on art and society, exploring the significance of musical tableaux that have revolutionized the form and function of music in the text.

Now, for the first time, the whole story of the way in which A la recherche du temps perdu grew during the first six years of its gestation is told in full, both in its general thrust and in its fine details.

Probing the activity of textual self-recovery among the debris of history and fantasy, visuality and desire, and culture and corporeality, The Material, the Real, and the Fractured Self imparts something of the startling beauty and the raw urgency of poetry writing across the broad modern period.

With this book, David J. Bond provides the first comprehensive study of his work in any language - a study that reveals Chessex's deep ambivalence towards his Calvinist heritage and his efforts to resolve this dilemma through his texts.

In Telling Anxiety, Jennifer Willging examines manifestations of such anxieties in the selected narratives of four women writing in French.

Calin develops a synthesis of medieval French and English literature that will be especially useful for classroom study.

In The Triumphant Juan Rana, Peter E. Thompson examines the actor's sexuality both on and off the stage and demonstrates that his homosexuality was tolerated, even understood and applauded, by the public.

As a whole, this work diverges from traditional Pessoa criticism by testifying to the importance of corporeal physicality in his heteronymous experiment and to the prominence of representations of (gendered) sexuality in his work.

In this book, Albert W. Halsall presents the first complete treatment in English of Hugo's plays - a history, plot summary, and detailed analysis of all the dramas, from Cromwel and Torquemada to the juvenilia and the epic melodrama Les Burgraves.

This study sets out to help restore Persiles to pride of place within Cervantes's corpus by reading it as the author's summa, as a boldly new kind of prose epic that casts an original light on the major political, religious, social, and literary debates of its era.

In Seeing Politics Otherwise, Patricia Vieira uses an interdisciplinary approach to explore the interrelation of politics and representations of vision and blindness in Latin American and Iberian literature, film, and art.

In Marginal Subjects, Akiko Tsuchiya shows how the figure of the deviant woman-and her counterpart, the feminized man - revealed the ambivalence of literary writers towards new methods of social control in Restoration Spain.

Subject Stages argues that the discourses and practices of marital legislation, litigation, and theatrics informed each other in early modern Spain in ways that still have a critical bearing on contemporary events in Spain, such as the legalization of divorce in 1978 and of same-sex marriage in 2005.

Suellen Diaconoff situates French-language texts from Moroccan women writers in a discourse of social justice and reform, arguing that they contribute to the emerging national debate on democracy and help to create new public spaces of discourse and participation.

The Persistence of Presence analyzes the relationship between emblem books, containing combinations of pictures and texts, and Spanish literature in the early modern period.

The Outrageous Juan Rana Entremeses translates a selection of Juan Rana's interludes for the first time, highlighting their literary complexity and providing historical context for the many double meanings and innuendos they contain.

A short essay and never before published photographs by Emile Zola during his self-imposed exile in England in the late nineteenth-century.

Dressed to Kill reconciles Zayas's Desenga os with the age in which it was written, contextualizing the book in baroque poetics, the Spanish honour code, and fifteenth-century martyr saints' lives.