Twenty years past, the governors plotted murder. Ruled by avarice, they imprisoned the winged dragons of Taran Leigh in the black cells of a stone lair. Tormented by spine and spur the once peaceful creatures howl, immense webbed wings beating beneath iron bars. Those who raised their voices in protest were banished--skyriders, the men who rode the dragons--vanished to the distant mountains of the Mirror.Now, Treasa, the daughter of exiles, seeker of secrets, dreams with the lair's dragons, her heart torn by her love for the winged creatures and a man who masters them. She must choose her path with care. The lair's black -garbed riders sense the dragon's growing savagery. Yet one, Conall, longs to grasp their power, subdue them and soar, unaware that winged flight, merged in harmony, is his for the asking. Then, a curved talon rends Conall's flesh and dragon scale, rattling against white ribs and the world shifts. As hearts once parted bind, Terasa and Conall join forces to fight for the dragon's freedom. Alliances form, old myths are revealed and new myths are born.

In Gender and Genre in the Folklore of Middle India, Joyce Burkhalter Flueckiger analyzes six representative Indian folklore genres from a single regional repertoire to show the influence of their intertextual relations on the composition and interpretation of artistic performance. Placing special emphasis on women’s rituals, she looks at the relationship between the framework and organization of indigenous genres and the reception of folklore performance. The regional repertoire under examination presents a strikingly female-centered world. Female performers and characters are active, articulate, and frequently challenge or defy expectations of gender. Men also confound traditional gender roles. Flueckiger includes the translations of two full performance texts of narratives sung by female and male storytellers respectively.

This remarkable collection uses genre as a fresh way to analyze the issues of gender representation in film theory, film production, spectatorship, and the contexts of reception. With a uniquely global perspective, these essays examine the intersection of gender and genre in not only Hollywood films but also in independent, European, Indian, and Hong Kong cinemas. Working in the area of postcolonial cinema, contributors raise issues dealing with indigenous and global cinemas and argue that contemporary genres have shifted considerably as both notions of gender and forms of genre have changed. The volume addresses topics such as the history of feminist approaches to the study of genre in film, issues of female agency in postmodernity, changes taking place in supposedly male-dominated genres, concepts of genre and its use of gender in global cinema, and the relationship between gender and sexuality in film. Contributors are Ira Bhaskar, Steven Cohan, Luke Collins, Pam Cook, Lucy Fischer, Jane Gaines, Christine Gledhill, Derek Kane-Meddock, E. Ann Kaplan, Samiha Matin, Katie Model, E. Deidre Pribram, Vicente Rodriguez Ortega, Adam Segal, Chris Straayer, Yvonne Tasker, Deborah Thomas, and Xiangyang Chen.

"Dramatic Difference offers an important contribution to the study of early modern women writers, and at the same time invites scholars and critics of the theater to reassess the place of closet drama - and the presence of women dramatists - in the early modern dramatic tradition."--BOOK JACKET.

Recent years have witnessed important new initiatives in the study of popular fictional modes of writing. At one time the field could have been described with reasonable accuracy by two traditions: one that analyzed the production and distribution of popular fiction as commodities; and one whose proponents regarded popular fiction as the negative which offered definition to the exposure of the positive - the ‘great’ canonic literary tradition. Generally, then, popular fictions were to be ‘evaluated’ according to the institutionalized norms which had been established as common sense practice around literary studies. The decade of the 1970s, however ushered in a bewildering range of theoretical debates - a crucial gain was establishment of interdisciplinary courses in communication, cultural and media studies, providing a network of contexts within which serious analysis could evolve and progress. Responding to a fundamental challenge from feminism, a primary objective of this book is to propose that all narrative and its reading are intrinsically inflected by sexual politics. Various approaches represented here demonstrate problems of confronting the gendered pleasures of reading. Questions about self, sexuality and identity within specific historical formations are raised. The objective is to frame, describe and unearth the notion of ‘men as readers’ as a project rather than as the usual, unquestioned normative procedure. Drawing eclectically upon Marxist, psychoanalytic and discourse theory, the essays set out readings of popular texts and genres – the Western, the sentimental novel, detective and crime fiction, political thrillers and horror and science fiction – in the interest of provoking other readers to see the critical study of popular fiction as unthinkable without gender as a central concern.

This collection of essays maintaining links with theory and practice applies a critical approach to the short story form. Some are theoretical in orientation, covering such issues as gender and marginality, while others offer readings of works by writers such as Alice Munro and John McGahern.

This volume addresses the growing obsolescence of traditional constructions of masculine identity in popular romantic comedies by proposing an approach that combines gender and genre theory to examine the ongoing radical reconstruction of gender roles in these films. Alberti creates a unified theory of gender role change in the movies that combines the insights of both poststructuralist gender and narrative genre theory, avoiding binary approaches to the study of gender representation. He establishes the current "crises" in both gender representation and genre development within romantic comedies as examples of experimentation and change towards narratives that feature more egalitarian and less essentialist constructions of gender.