A thick white mist hangs over the Eastern Sea, covering all of the ships that are attempting to navigate the grey waters. The pirates sit on the bottom of their sleek ship, huddled amongst their chests of gold, shivering in fear despite the warmth of the night. Humfard the one-eyed hobgoblin jumps lithely up onto the aft castle towards Elkira, who steers the ship. "It's unnatural, this fog," he grumbles, "at this time of year it is." "Aye, Humfard," responds the pirate woman, "I sense the work of a spell caster. Look, I cannot even see the bottom of the ship from up here." Through the fog on the forecastle, two pirates stand and look over the side, trying to peer through the deep forbidding wall of whiteness. "Did you hear something?" one of them asks. "It was like a splashing on the water." "It is just the ship." "Actually, it was me," says a feminine voice from the gloom. They jump up, startled, as a soaking wet Mora steps from the ship's wooden railing onto the top of the forecastle. The water on her cape and hood is evaporating, turning into steam as she moves. "I am looking for a band of travellers who stole the cargo of a ship called the Peregrine." "How?" stammers one of the pirates. The other draws his falchion and jumps at the cloaked figure. The scythe spins around and the man falls back, his arm severed. The second pirate jumps to the back of the forecastle and yells for help. Mora's scythe slices across and cuts off his cry in mid-yell. His head falls down from the forecastle amongst his comrades. The second pirate is pulling himself away from Mora, dragging himself with his left hand. She is almost nonchalant in her execution of him, the point of her scythe stabbing down as she investigates the remainder of the forecastle. She walks to the edge of the forecastle and looks into the mist-filled hull of the ship. She can hear the shouts and yells of the pirates and she smiles to herself. She readies her scythe and jumps down from the forecastle, amongst the confused pirates. Humfard stares intently into the mist. "What is happening?" he growls. "I cannot see a thing." Behind him, Elkira ties the steering in place and draws her falchion. "We must investigate," she says. "Our dog-brothers need our help." "No," he mutters. "If we go down into the mist, we will be ambushed. We will wait up here and catch them if they come up the ladder." They wait, standing at the top of the ladder that leads from the hull. They can hear the sounds: of cries and shrieks, of muffled movements and the swish of sword and scythe strikes. A head flies out of the mist and crashes against the side of the forecastle, before dropping back into the hull. Two pirates run out of the mist towards the forecastle, screaming in fright. One appears to trip over and his body falls forward. Elkira notices that his legs are severed below the knee. The second pirate jumps up onto the ladder and Humfard reaches down a hand to help him up. He grabs the pirate by the hand and pulls him upwards, dragging him towards the top. The pirate shrieks in pain and Humfard grunts, unable to drag any further. Then the pirate is free and Humfard falls backwards; the body of the pirate falls onto him. Elkira gasps in fright; there is a huge hole in the pirate's back. Elkira turns back to the ladder and looks into the depths of the fog, her falchion ready. Humfard pushes the body from him and staggers to his feet. Humfard backs away from the edge with fear in his eyes. He hears a creaking sound behind him, like a door opening, and he turns around slowly. Mora is standing behind him, next to the trapdoor that leads from the cabin below, inside the aft castle. There are cuts on her cloak and blood splattered over it. Elkira notices that, although most of the blood is red, some of appears to be white and actually burns the cloak where it drips onto

Today, a multiplicity of feminist approaches has become an integral part of the fields of German literary and cultural studies. This comprehensive reference provides a much needed synthesis of the contribution women have made to German literature and culture. In entries for more than 500 topics, the volume surveys literary periods, epochs, and genres; critical approaches and theories; important authors and works; female stereotypes; laws and historical developments; literary concepts and themes; and organizations and archives relevant to women and women's studies. Each entry offers a concise identification of the term, a discussion of its significance, and a bibliography of works for further reading. Today, a multiplicity of feminist approaches has become an integral part of the fields of German literary and cultural studies. While biographical works on women writers exist, this is the first reference to synthesize the wealth of feminist scholarship in German studies. While existing reference works focus exclusively on women authors, this volume contains numerous topical entries and covers the role of women in German literature and culture from the Middle Ages to the present day. Included are alphabetically arranged entries on more than 500 topics. While some entries are provided for important women writers and other individuals, the bulk of the volume provides information on literary periods, epochs, and genres; critical approaches and theories; female stereotypes; laws and historical developments; literary concepts and themes; and organizations and archives relevant to women and women's studies. Each entry includes a brief identification of the subject, a discussion of feminist thought on the topic, and a brief bibliography. Entries are written by numerous contributors and reflect a range of critical/theoretical approaches.

A fresh reading of the Willhelm Meister novels that dismisses the notion of the Bildungsroman to reveal unities between the texts.

Although Hofmannsthal never completed his only novel Andreas, its theme—the quest for self through memory—haunted the Viennese writer and recurs again and again in his poems, libretti, and essays. Analyzing the fragment, David Miles discusses Hofmannsthal's understanding of memory and myth, Andreas' pivotal role in his work, and its place within the tradition of such novels as Goethe's Wilhelm Meister and Rilke's Malte. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This study establishes age as a category of literary history, delineating age in its interaction with gender and narrative genre. Based on the historical premise that the view of ageing as a burden emerges as a specific narrative in the late eighteenth century, the study highlights how the changing experience of ageing is shaped by that of gender. By reading the Bildungsroman as a 'coming of age' novel, the book asks how the telling of a life in time affects individual age narratives. Bringing together the different perspectives of age and disability studies, the book argues that illness is already an important issue in the Bildungsroman's narratives of ageing. This theoretical stance provides new interpretations of canonical novels, visiting authors such as Johann Wolfgang Goethe, Frances Burney, Maria Edgeworth, Jane Austen, Charles Dickens, George Eliot, Samuel Beckett, and Jonathan Franzen. Drawing on the link between age and illness in the Bildungsroman's age narratives, the genre of 'dementia narrative' is presented as one of the directions which the Bildungsroman takes after its classical period. Applying these theoretical perspectives to canonical novels of the nineteenth century and to the new genre of 'dementia narrative', the volume also provides new insights into literary and genre history. This book introduces a new theoretical approach to cultural age studies and offers a comprehensive analysis of the connection between narratology, literary theory, gender and age studies.

An iconic filmmaker and inheritor of the legendary Satyajit Ray’s legacy, Rituparno Ghosh was one of the finest auteurs to emerge out of contemporary Bengal. His films, though rooted firmly in middle-class values, desires and aspirations, are highly critical of hetero-patriarchal power structures. From the very outset, Ghosh displayed a strong feminist sensibility which later evolved into radical queer politics. This volume analyses his films, his craft, his stardom and his contribution to sexual identity politics. In this first scholarly study undertaken on Rituparno Ghosh, the essays discuss the cultural import of his work within the dynamics of a rapidly evolving film industry in Bengal and more largely the cinematic landscape of India. The anthology also contains a conversation section (interviews with the filmmaker and with industry cast and crew) drawing a critical and personal portrait of this remarkable filmmaker.