Swift S Parody

An exploration of parody in Swift's early prose, and in textual and cultural developments in Swift's Britain.

Swift's parodies are among his most fascinating works, but perhaps require most explication for the modern reader. Valerie Rumbold brings a new depth and detail to the editing of Swift's Bickerstaff papers, 'Polite Conversation', 'Directions to Servants' and other works on language and conduct. Highlights include a fresh investigation of the political and print contexts of the Bickerstaff papers, full commentaries on such smaller works as 'A Modest Defence of Punning' and 'On Barbarous Denominations in Ireland', identification and explanation of many additional sayings in 'Polite Conversation', and a detailed contextualisation of 'Directions to Servants' in contemporary domestic theory and practice. A substantial thematic Introduction is supplemented by an individual headnote and full annotation to each work. The Textual Introduction explores the publishing strategies adopted by Swift and his booksellers, and a separate Textual Account of each work presents and discusses changes in the texts over time.

Taylor Swift parody. Some really off-the-wall humor about Taylor Swift: the World's 21st Century Shirley Temple! A parody. Not to be taken seriously. This book contains bad, absurd, ridiculous, insulting, tacky, off-the-wall, seedy, insane, bat-sh*t crazy attempts at humor. If you like "Friends" (the TV show) you'll hate the book. If you like "South Park" you'll probably love the book. Either way, you bought it, so, you might as well read it!

The eighteenth century in English literature has been called the Augustan Age the Neoclassical Age, and the Age of Reason. The term 'the Augustan Age' comes from the self-conscious imitation of the original Augustan writers, Virgil and Horace, by many of the writers of the period. Specifically, the Augustan Age was the period after the Restoration era to the death of Alexander Pope (~1690 - 1744). The major writers of the age were Pope and John Dryden in poetry, and Jonathan Swift and Joseph Addison in prose. Dryden forms the link between Restoration and Augustan literature; although he wrote ribald comedies in the Restoration vein, his verse satires were highly admired by the generation of poets who followed him, and his writings on literature were very much in a neoclassical spirit. I particularly aimed at interpretation of sociopolitical milieu of Augustan Age, of social change, of literary tendencies of the age, and of prose, novel, poetry and drama of the Augustan Age.

This work is an analytic bibliography of the writings of Jonathan Swift, containing a listing of every known edition or issue of Swift's work down to the year 1814 (except for the section "Biography and Criticism" which extends from 1709 to 1895). In this revised edition, Herman Teerink has added full collations of the works referred to. In addition, the titles of many 18th century mutations or parodies of Swift have been included together with works which allude to Swift or his writings. Arthur H. Scouten, a University of Pennsylvania professor of English and author of many bibliographical articles on Swift, who has carried on Dr. Teerink's work and prepared this volume for press, has consulted 18th century scholars and bibliographers. With their advice, he has kept the original Teerink numbers, since they are the common reference numbers among Swift scholars and are listed in dealers' catalogues. Because the new material and arrangement put these numbers out of order, they have been listed in a table at the beginning of the book with all the pages they appear on. So that they will not have to be sought throughout the entire volume, all the Faulkner editions have been placed together and all the printings of Gulliver's Travels have been collected in one section, where they are arranged chronologically by country. A full physical description of all important books and pamphlets, including those discovered since 1937 (the first edition), has been provided. The work has been brought up-to-date with the bibliographical findings of Swift scholarship of the past twenty-five years. A number of pieces apocryphally attributed to Swift have been deleted or placed in the "Doubtful" section. Finally, entries of books and pamphlets containing contemporary comment on a work by Swift have been placed where Swift's work itself is entered. This book is especially rich in its listings of translations of Swift's works into foreign languages. Also, since the first edition (A Bibliography of the Writings in Prose and Verse of Jonathan Swift, D.D.) has long been out of print, this volume will be invaluable to book dealers, bibliophiles, and scholars, teachers, and students of English literature.

An exhaustive study of satire in the long eighteenth century. Outstanding Academic Title, Choice In The Practice of Satire in England, 1658–1770, Ashley Marshall explores how satire was conceived and understood by writers and readers of the period. Her account is based on a reading of some 3,000 works, ranging from one-page squibs to novels. The objective is not to recuperate particular minor works but to recover the satiric milieu—to resituate the masterpieces amid the hundreds of other works alongside which they were originally written and read. The long eighteenth century is generally hailed as the great age of satire, and as such, it has received much critical attention. However, scholars have focused almost exclusively on a small number of canonical works, such as Gulliver's Travels and The Dunciad, and have not looked for continuity over time. Marshall revises the standard account of eighteenth-century satire, revealing it to be messy, confused, and discontinuous, exhibiting radical and rapid changes over time. The true history of satire in its great age is not a history at all. Rather, it is a collection of episodic little histories.

This is a deconstruction of the published books of poetry of Derek Walcott from 1961 to 1981 to unearth, expose and analyze the discourse and worldview of Walcott of miscegenated being, the Caribbean dystopia and the existential condition of the African and Indian Diasporas in the Caribbean dystopia. Walcott segregates himself from the Caribbean dystopia as he excoriates the African and Indian Diasporas blaming them for constructing the dystopia, they are trapped in. Walcott exempts white supremacist colonial and neo-colonial imperial power relations which condemns us to dependency and underdevelopment at the level of the idea. Which he must do for Walcott insists that what separates him from the Dystopia and enables his freedom from the dystopia, his flight to the North Atlantic is his white grandfather's legacy bequeathed to him by his miscegenated father. At the level of his genome Walcott is special, exceptional in the realm of the Dystopia compelled to prove and affirm this state of being in the North Atlantic. Walcott then frames his poetry on the foundation of the binary, Manichean duality of white North Atlantic discourse. I had a white grandfather and father which makes this deconstruction a personal conversation between two conflicting discourses of miscegenated being and our place in the world.

First Published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.