Heroes And Heroism In British Fiction Since 1800

This book is about the manifestations and explorations of the heroic in narrative literature since around 1800. It traces the most important stages of this representation but also includes strands that have been marginalised or silenced in a dominant masculine and higher-class framework - the studies include explorations of female versions of the heroic, and they consider working-class and ethnic perspectives. The chapters in this volume each focus on a prominent conjuncture of texts, histories and approaches to the heroic. Taken together, they present an overview of the ‘literary heroic’ in fiction since the late eighteenth century.

This study explores the work of Frank Mundell, a late-Victorian author for the Sunday School Union. Mundell focused on heroism and represented various kinds of heroic deeds and figures, regardless of gender, in his books. Writing for educative, as well as entertaining, purposes, he avoided the use of didacticism and he endeavoured to combine the traditional and the modern in the stories he chose to tell. Mundell’s favourite format was that of the prosopography, putting together several heroic lives or incidents. He was careful to dedicate each of his volumes to one topic in particular, thus distinguishing the different types of heroic deeds from one another. His writings belong to four series, or collections, each highlighting a specific version of heroism, from instances of the mundane performed in a familial context to extraordinary deeds. He wrote about such bold acts as those featuring in the stories of brave firemen fighting devouring flames, fearless sailors in tempestuous seas, determined miners risking their lives to save their comrades, or intrepid explorers facing perils in the wide world. This book analyses each of his publications, highlighting the elements belonging to his representation of heroism as a whole.

Heroes and heroic discourse have gained new visibility in the twenty-first century. This is noted in recent research on the heroic, but it has been largely ignored that heroism is increasingly a global phenomenon both in terms of production and consumption. This edited collection aims to bridge this research void and brings together case studies by scholars from different parts of the world and diverse fields. They explore how transnational and transcultural processes of translation and adaptation shape notions of the heroic in non-Western and Western cultures alike. The book provides fresh perspectives on heroism studies and offers a new angle for global and postcolonial studies.

This book explores how British culture is negotiating heroes and heroisms in the twenty-first century. It posits a nexus between the heroic and the state of the nation and explores this idea through British television drama. Drawing on case studies including programmes such as The Last Kingdom, Spooks, Luther and Merlin, the book explores the aesthetic strategies of heroisation in television drama and contextualises the programmes within British public discourses at the time of their production, original broadcasting and first reception. British television drama is a cultural forum in which contemporary Britain’s problems, wishes and cultural values are revealed and debated. By revealing the tensions in contemporary notions of heroes and heroisms, television drama employs the heroic as a lens through which to scrutinise contemporary British society and its responses to crisis and change. Looking back on the development of heroic representations in British television drama over the last twenty years, this book’s analyses show how heroisation in television drama reacts to, and reveals shifts in, British structures of feeling in a time marked by insecurity. The book is ideal for readers interested in British cultural studies, studies of the heroic and popular culture.

This book fills a remarkable void in literary studies which has escaped the attention of many researchers. It interrogates the extent to which nineteenth-century children’s adventure novels justify and perpetuate the British Imperialist ideology of the period. In doing so, it begins with providing a historical background of children’s literature and nineteenth-century British imperialism. It then offers a theoretical framework of postcolonial reading to decipher the colonial discourse employed in the selected children’s adventure novels. As such, the book offers postcolonial readings of R.M. Ballantyne’s The Coral Island (1858), W.H.G. Kingston’s In the Wilds of Africa (1871), and H.R. Haggard’s King Solomon’s Mines (1885). It will appeal to students, academicians and researchers in fields such as postcolonialism, children’s literature and British Imperialism.

The widespread opinion is that Northrop Frye’s influence reached its zenith in the 1960s and 1970s, after which point he became obsolete, his work buried in obscurity. This almost universal opinion is summed up in Terry Eagleton’s 1983 rhetorical question, "Who now reads Frye?" In The Reception of Northrop Frye, Robert D. Denham catalogues what has been written about Frye – books, articles, translations, dissertations and theses, and reviews – in order to demonstrate that the attention Frye’s work has received from the beginning has progressed at a geomantic rate. Denham also explores what we can discover once we have a fairly complete record of Frye’s reception in front of us – such as Hayden White’s theory of emplotments applied to historical writing and Byron Almén’s theory of musical narrative. The sheer quantity of what has been written about Frye reveals that the only valid response to Eagleton’s rhetorical question is "a very large and growing number," the growth being not incremental but exponential.

Agatha Christie has never been substantially considered as a war writer, even though war is a constant presence in her writing. This interdisciplinary collection of essays considers the effects of these conflicts on the social and psychological textures of Christie’s detective fiction and other writings, demonstrating not only Christie’s textual navigation of her contemporary surroundings and politics, but also the value of her voice as a popular fiction writer reflecting popular concerns. Agatha Christie Goes to War introduces the ‘Queen of Crime’ as an essential voice in the discussion of war, warfare, and twentieth century literature.

Famous for being deathly serious, the vampire genre has a consistent yet often critically overlooked subgenre--the comedic spoof and satire. This is the first book dedicated entirely to documenting and analyzing the vampire comedy on film and television. Various types of comedy are discussed, outlining the important differences between spoofing, serious-spoofing, parody and satire. Seminal films such as Abbott and Costello Meet Frankenstein, Love at First Bite, Vampire in Brooklyn, Dracula: Dead and Loving It and What We Do In the Shadows are featured. More importantly, this book demonstrates how comedy is central to both the common perception of the vampire and the genre's ever-evolving character, making it an essential read for those interested in the laughing undead and creatures that guffaw in the night.