First published in 1998, 'Inventing Ruritania' achieved a rare combination of critical success, broad readership and enduring academic influence. It is now recognised as a key contribution to the study of Balkan and European identity. Offered by Hurst in a long-awaited and updated paperback edition, 'Inventing Ruritania' is just as topical in the context of Europe's current turmoil as it was when it first appeared. Vesna Goldsworthy explores the origins of the ideas that underpin Western perceptions of the Balkans, the 'Wild East' of Europe. European and Oriental at the same time, the Balkans are tantalisingly ambiguous: simultaneously attracting and repelling outsiders, an exciting alternative to the familiar ennui of the West, both completely different from 'us' and exactly as 'we' used to be. Writers and filmmakers in Western Europe and America have found in the peninsula a rich mine of images for literature and the movies. In her prodigiously researched but very readable volume, Goldsworthy shows how this lucrative exploitation of Balkan history and geography by the entertainment industry has affected attitudes toward the region. She considers the religious, national, and sexual taboos and fears projected onto Balkan lands, and discusses the political exploitation and media uses of the Balkan archetypes.
Over the last decade, migration flows from Central and Eastern Europe have become an issue in political debates about human rights, social integration, multiculturalism and citizenship in Great Britain. The increasing number of Eastern Europeans living in Britain has provoked ambivalent and diverse responses, including representations in film and literature that range from travel writing, humorous fiction, mockumentaries, musicals, drama and children's literature to the thriller. The present volume discusses a wide range of representations of Eastern and Central Europe and its people as reflected in British literature, film and culture. The book offers new readings of authors who have influenced the cultural imagination since the nineteenth century, such as Bram Stoker, George Bernard Shaw, Joseph Conrad and Arthur Koestler. It also discusses the work of more contemporary writers and film directors including Sacha Baron Cohen, David Cronenberg, Vesna Goldsworthy, Kapka Kassabova, Marina Lewycka, Ken Loach, Mike Phillips, Joanne K. Rowling and Rose Tremain. With its focus on post-Wall Europe, Facing the East in the Westgoes beyond discussions of migration to Britain from an established postcolonial perspective and contributes to the current exploration of 'new' European identities.
Since ancient times, explorers and adventurers have captured popular imagination with their frightening narratives of travels gone wrong. Usually, these stories heavily feature the exotic or unknown, and can transform any journey into a nightmare. Stories of such horrific happenings have a long and rich history that stretches from folktales to contemporary media narratives. This work presents eighteen essays that explore the ways in which these texts reflect and shape our fear and fascination surrounding travel, posing new questions about the "geographies of evil" and how our notions of "terrible places" and their inhabitants change over time. The volume's five thematic sections offer new insights into how power, privilege, uncanny landscapes, misbegotten quests, hellish commutes and deadly vacations can turn our travels into terror.
The early twentieth century notoriously saw an unprecedented wave of experiment in the arts. So intense was this activity that one can without exaggeration speak of a will to experiment (to 'make it new'). Where did that will to experiment come from? Why did it so insistently take the forms ittook? Looking specifically at Modernism in England, David Trotter seeks answers in the careers of three novelists writing in the first decades of the century: Ford Madox Ford, D. H. Lawrence, and Wyndham Lewis. The context he proposes for their work is that of contemporary understandings of thefunction and value of expertise, and of the dilemmas peculiar to those possessing it. There is a certain madness about the expert's pursuit of expertise, and about his or her disappointment if expertise fails to yield adequate social recognition. The early psychiatric literature identified thismadness as paranoia, and the textbooks and case-histories find an uncanny echo in Modernist fiction. In the obstinacy of their will to experiment, Ford, Lawrence, and Lewis wrote about, and lived, paranoia. To understand that obstinacy in its professional and psychiatric contexts is to approach froma new and unexpected angle the preoccupations with gender and with the politics of culture which currently characterize the study of Modernism. The energies it shook loose in their writing are energies which, evading absorption into the 'postmodern', continue to shape Western society and culture tothis day.
Based on hundreds of primary sources in a wide range of languages, this book offers a reevaluation of Romanian images of self and other, as well as of foreign images of the country and people. A nuanced and historically-grounded contribution to the lively debates over Balkanism, Orientalism and identities in Romania and in Europe as a whole.
“Post/modern Dracula” explores the postmodern in Bram Stoker’s Victorian novel and the Victorian in Francis Ford Coppola’s postmodern film to demonstrate how the century that separates the two artists binds them more than it divides them. What are the postmodern elements of Stoker’s novel? Where are the Victorian traits in Coppola’s film? Is there a postmodern gloss on those Victorian traits? And can there be a Victorian directive behind postmodernism in general? The nine essays compiled in this collection address these and other relevant questions per the novel and the film at three distinct periods: (post)modern Victorianism, post/modernism, and finally postmodernism. Part I on (post)modernist issues in Stoker’s novel establishes the link between Victorian themes and postmodern praxes that begins with colonialist concerns and ends with poststructuralist signification. Part II looks at the post/modernist traits in Stoker’s Dracula, those obviously influenced by modernism but also, with the help of the novel’s plasticity vis-à-vis the media over the last century, by postmodernism. Part III examines more closely the novel’s postmodern characteristics, particularly with respect to Coppola’s 1992 film, Bram Stoker’s Dracula. Dracula defies time and promises to undermine any critical study of it that precisely tries to situate it within a given epoch, including a postmodernist one. Given its relationship to late-capitalist economy, to post-Marxist politics, and to commodity culture, and given its universal appeal to human fears and anxieties, fetishes and fantasies, lusts and desires, Stoker’s novel will forever remain post/modern—always haunting our future, as it has repeatedly done so our past. Though scholars of Dracula and Gothic literature in general will find some of the essays innovative and engaging per today’s literary criticism, the book is also intended for both an informed general reader and a novice student of the novel and of the film. As such, a few essays are highly specialized in postmodern theory, whereas others are more centered around the sociohistorical context of the novel and film and use various postmodern theories as inroads into the novel’s or the film’s study.
The nineteenth century was the heyday of travel, with Britons continually reassessing their own culture in relation to not only the colonized but also other Europeans, especially the ones that they encountered on the southern and eastern peripheries of the continent. Offering illustrative case studies, Katarina Gephardt shows how specific rhetorical strategies used in contemporary travel writing produced popular fictional representations of continental Europe in the works of Ann Radcliffe, Lord Byron, Charles Dickens, and Bram Stoker. She examines a wide range of autobiographical and fictional travel narratives to demonstrate that the imaginative geographies underpinning British ideas of Europe emerged from the spaces between fact and fiction. Adding texture to her study are her analyses of the visual dimensions of cross-cultural representation and of the role of evolving technologies in defining a shared set of rhetorical strategies. Gephardt argues that British writers envisioned their country simultaneously as distinct from the Continent and as a part of Europe, anticipating the contradictory British discourse around European integration that involves both fear that the European super-state will violate British sovereignty and a desire to play a more central role in the European Union.
How has Europe shaped British literature and culture – and vice versa – since the Middle Ages? This volume offers nuanced answers to this question. From the High Renaissance to haute cuisine, from the Republic of Letters to the European Union, from the Black Death to Brexit -- the reader gains insights into the main geographical zones of influence, shared intellectual movements, indicative modes of cultural transfer and more recent conflicts that have left their mark on the British-European relationship. The story that emerges from this long history of cultural interactions is much more complex than its most recent political episode might suggest. This volume offers indispensable contexts to the manifold and longstanding connections between British and European literature and culture. This book suggests that, however the political landscape develops, we will do well to bear this exceptionally rich history in mind.
The authors of this research collection are not so much interested in what Europe thinks of itself, but rather what others think of it. They take a number of scenarios from recent history and examine how Europe has appeared to people in other parts of the world: America, China, the Arab world, for example.
“In an era of growing anti-intellectualism, [Judt's] essays remind us of what we gain when we stick fast to high ethical and intellectual standards, and what is lost when we let them slip.” —Mark Mazower, Financial Times “Scintillating journalism . . . This collection is a reminder of Judt’s clear mind and prose and, as Homans says in her lovely introduction, his fidelity to hard facts and to honest appraisal of the modern scene.” —Samuel Moyn, The New York Times Book Review In an age in which the lack of independent public intellectuals has often been sorely lamented, the historian Tony Judt played a rare and valuable role, bringing together history and current events, Europe and America, what was and what is with what should be. In When the Facts Change, Tony Judt’s widow and fellow historian Jennifer Homans has assembled an essential collection of the most important and influential pieces written in the last fifteen years of Judt’s life, the years in which he found his voice in the public sphere. Included are seminal essays on the full range of Judt’s concerns, including Europe as an idea and in reality, before 1989 and thereafter; Israel, the Holocaust and the Jews; American hyperpower and the world after 9/11; and issues of social inclusion and social justice in an age of increasing inequality. Judt was at once most at home and in a state of what he called internal exile from his native England, from Europe, and from America, and he finally settled in New York—between them all. He was a historian of the twentieth century acutely aware of the dangers of ethnic exceptionalism, and if he was shaped by anything, it was the Jewish past and his own secularism. His essays on Israel ignited a firestorm debate for their forthright criticisms of Israeli government polices relating to the Palestinians and the occupied territories. Those crucial pieces are published here in book form for the first time, including an essay, never previously published, called “What Is to Be Done?” These pieces are suffused with a deep compassion for the Israeli dilemma, a compassion that instilled in Judt a sense of responsibility to speak out and try to find a better path, away from what he saw as a road to ruin. When the Facts Change also contains Judt’s homages to the culture heroes who were some of his greatest inspirations: Amos Elon, François Furet, Leszek Kolakowski, and perhaps above all Albert Camus, who never accepted the complacent view that the problem of evil couldn't lie within us as well as outside us. Included here too is a magnificent two-part essay on the social and political importance of railway travel to our modern conception of a good society; as well as the urgent text of “What Is Living and What Is Dead in Social Democracy,” the final public speech of his life, delivered from a wheelchair after he had been stricken with a terrible illness; and a tender and wise dialogue with his then-teenage son, Daniel, about the different outlooks and burdens of their two generations. To read When the Facts Change is to miss Tony Judt’s voice terribly, but to cherish it for what it was, and still is: a wise, human, deeply informed view on our most pressing concerns, delivered in good faith.
