Publisher description

This volume explores various facets of the relationship between the fantastic and the fin de siècle. The essays included here examine how the fin de siècle reflects the fantastic and its relation to the genesis of aesthetic ideas, to the concepts of terror and horror, the sublime, and evil, to Gothic and sensation fiction, to the Aesthetic Movement and Decadence. They also raise the question regarding the ways in which fantastic literature reflects the dynamic and all-too-often controversial development of the concept of the fantastic. At the same time, the majority of the contributions also investigate a broader context of specific social, political and economic conditions that frame the fantastic of the fin de siècle. They examine how fantastic genres use narrative manipulations, and how they incorporate various ideas of scientific development and progress by highlighting the role of religion, cultural anxiety and social crisis, as well as exploring the ways such genres use the fantastic for various purposes of cultural and social subversion. Fin de siècle fantastic literature is also investigated across a variety of cultures, as reflected in Scottish, Canadian, Australian, American and British writing, with particular emphasis on their predominant cultural or generic aspects, the genesis of the fin de siècle fantastic in some of these cultures and literatures, and their relations to a wider historical and cultural framework. The essays as a whole represent the work of scholars working in a diverse range of fields, and therefore adopt a wide range of approaches to the fantastic. As such, this volume provides a fresh and stimulating platform for further rethinking of the concept of the fantastic and its relation to fin de siècle literature, and its theoretical, philosophical, generic, and other implications within a broader literary, social and cultural context.

In the tradition of "The Girl with the Pearl Earring" and "The Girl in Hyacinth Blue," a beautiful, atmospheric, and sensual debut re-imagines the tempestuous relationship between painter Gustav Klimt and Emilie Floege, the youngest daughter of a bourgeois businessman.

Christine Ferguson's timely study is the first comprehensive examination of the importance of language in forming a crucial nexus among popular fiction, biology, and philology at the Victorian fin-de-siècle. Focusing on a variety of literary and non-literary texts, the book maps out the dialogue between the Victorian life and social sciences most involved in the study of language and the literary genre frequently indicted for causing linguistic corruption and debasement - popular fiction. Ferguson demonstrates how Darwinian biological, philological, and anthropological accounts of 'primitive' and animal language were co-opted into wider cultural debates about the apparent brutality of popular fiction, and shows how popular novelists such as Marie Corelli, Grant Allen, H.G. Wells, H. Rider Haggard, and Bram Stoker used their fantastic narratives to radically reformulate the relationships among language, thought, and progress that underwrote much of the contemporary prejudice against mass literary taste. In its alignment of scientific, cultural, and popular discourses of human language, Language, Science, and Popular Fiction in the Victorian Fin-de-Siècle stands as a corrective to assessments of best-selling fiction's intellectual, ideological, and aesthetic simplicity.

From the #1 New York Times bestselling author of The Party Crasher and Love Your Life . . . “Sophie Kinsella keeps her finger on the cultural pulse, while leaving me giddy with laughter.”—Jojo Moyes, author of The Giver of Stars and The Last Letter from Your Lover Life has been good to Becky Bloomwood: She’s become the top personal shopper at Barneys and she’s living happily with her boyfriend, Luke, in Manhattan’s West Village. But with her best friend, Suze, engaged, how can Becky fail to notice that her own ring finger is bare? Not that she’s been thinking about marriage (or diamonds) or anything. Then Luke proposes! Problem is, two other people are planning her wedding: Becky’s overjoyed mother—who has been waiting forever to host a backyard wedding, with the bride resplendent in Mum’s frilly old gown; and her high-society soon-to-be mother-in-law—who insists on a glamorous, all-expenses-paid affair at the Plaza. Both weddings, on separate continents, on the same day . . . and Becky can’t seem to turn down either one. Can everyone’s favorite shopaholic tie the knot before everything unravels? Praise for Sophie Kinsella and Shopaholic Ties the Knot “Kinsella has a genuine gift for comic writing.”—The Boston Globe “Witty and hilarious.”—Cosmopolitan (U.K.) “Another entertaining entry in Kinsella’s unabashedly fluffy Shopaholic series . . . chock-full of the charming antics and asides that made the first two installments hilarious best-sellers.”—Booklist “Kinsella’s Bloomwood is plucky and funny. . . . You won’t have to shop around to find a more winning protagonist.”—People