Comics and Graphic Novel Culture
Literary Critcism, Australia
Literary Criticism, Africa
Literary Criticism, Caribbean
Literary Criticism, Eastern Europe
Literary Criticism, Feminist
Literary Criticism, France
Literary Criticism, Germany
Literary Criticism, Latin America
Literary Criticism, Poetry
Literary Criticism, Religion
Literary Criticism, Theater
Literary Criticism, UK
Literary Criticism, US
Literary Criticism, Women
Literary Criticism, Women Authors
In Collaborative Dickens, Melisa Klimaszewski undertakes the first comprehensive study of Dickens’s Christmas numbers. She argues for a revised understanding of Dickens as an editor who, rather than ceaselessly bullying his contributors, sometimes accommodated contrary views and depended upon multivocal narratives for his own success.
In the early 1800s, books were largely unillustrated. By the 1830s and 1840s, however, innovations in wood- and steel-engraving techniques changed how Victorian readers consumed and conceptualized fiction. A new type of novel was born, often published in serial form, one that melded text and image as partners in meaning-making.
Katherine D. Harris assesses the phenomenal rise of the literary annual and its origins in English, German, and French literary forms as well as its social influence on women, its redefinition of the feminine, and its effects on late nineteenth- and early twentieth-century print culture.
Between the 1880s and the 1940s, the region known as British West Africa became a dynamic zone of literary creativity and textual experimentation. African-owned newspapers offered local writers numerous opportunities to contribute material for publication, and editors repeatedly defined the press as a vehicle to host public debates rather than simply as an organ to disseminate news or editorial ideology.
In Poetry, Pictures, and Popular Publishing eminent Rossetti scholar Lorraine Janzen Kooistra demonstrates the cultural centrality of a neglected artifact: the Victorian illustrated gift book. Turning a critical lens on “drawing-room books” as both material objects and historical events, Kooistra reveals how the gift book’s visual/verbal form mediated “high” and popular art as well as book and periodical publication.