James Kennedy W A Smith A F Johnson

Substantially revised and enlarged, this new edition of the Dictionary of Pseudonyms includes more than 2,000 new entries, bringing the volume's total to approximately 13,000 assumed names, nicknames, stage names, and aliases. The introduction has been entirely rewritten, and many previous entries feature new accompanying details or quoted material. This volume also features a significantly greater number of cross-references than was included in previous editions. Arranged by pseudonym, the entries give the true name, vital dates, country of origin or settlement, and profession. Many entries also include the story behind the person's name change.

In early nineteenth-century Britain, there was unprecedented interest in the subject of genius, as well as in the personalities and private lives of creative artists. This was also a period in which literary magazines were powerful arbiters of taste, helping to shape the ideological consciousness of their middle-class readers. Romantic Genius and the Literary Magazine considers how these magazines debated the nature of genius and how and why they constructed particular creative artists as geniuses. Romantic writers often imagined genius to be a force that transcended the realms of politics and economics. David Higgins, however, shows in this text that representations of genius played an important role in ideological and commercial conflicts within early nineteenth-century literary culture. Furthermore, Romantic Genius and the Literary Magazine bridges the gap between Romantic and Victorian literary history by considering the ways in which Romanticism was understood and sometimes challenged by writers in the 1830s. It not only discusses a wide range of canonical and non-canonical authors, but also examines the various structures in which these authors had to operate, making it an interesting and important book for anyone working on Romantic literature.

In this lively study of the development and transformation of voices of female offenders in nineteenth-century England, Anne Schwan analyzes a range of colorful sources, including crime broadsides, reform literature, prisoners' own writings about imprisonment and courtroom politics, and conventional literary texts, such as Adam Bede and The Moonstone. Not only does Schwan demonstrate strategies for interpreting ambivalent and often contradictory texts, she also provides a carefully historicized approach to the work of feminist recovery. Crossing class lines, genre boundaries, and gender roles in the effort to trace prisoners, authors, and female communities (imagined or real), Schwan brings new insight to what it means to locate feminist (or protofeminist) details, arguments, and politics. In this case, she tracks the emergence of a contested, and often contradictory, feminist consciousness, through the prism of nineteenth-century penal debates. The historical discussion is framed by reflections on contemporary debates about prisoner perspectives to illuminate continuities and differences. Convict Voices offers a sophisticated approach to interpretive questions of gender, genre, and discourse in the representation of female convicts and their voices and viewpoints.

Academe Degree Zero brings together ten essays that identify and critically examine the key issues facing professionals in higher education today. These include the nature and limits of anonymity in academic discourse, the ways in which affiliation and prestige temper academic judgement, and the role of collegiality in academic life. Through numerous essays, edited books and journal issues, Jeffrey R. Di Leo's cross-disciplinary work has consistently been at the edge of current thinking and critical efforts to lay bare the reality of contemporary academic life. Academe Degree Zero provides a snapshot of academic identity and relations in a time of major technological and economic transformation and in the context of growing corporatisation of higher education.