This book explores various forms of cultural influence and exchange between Britain and the Nordic countries in the late eighteenth century and romantic period. Broadly new-historicist in approach, but drawing also on influential descriptions of genre, discipline, mediation, cultural exchange, and comparative methodologies, these essays not only constitute a substantial and innovative contribution to scholarly understanding of the development of romanticisms and romantic nationalisms in Britain and the Nordic countries, but also describe a pattern of cultural encounter which was predicated upon exchange and a sense of commonality rather than upon the perception of difference or alterity which has so often been discerned by critical descriptions of British romantic-period engagements with non-British cultures. The volume ought to appeal to a broad and genuinely international academic audience with interests in eighteenth-century and romantic-period culture in Britain and Scandinavia as well as to undergraduates taking courses in eighteenth-century, romantic, and Scandinavian studies.

Always Human is a beautifully drawn, sapphic graphic novel about a developing relationship between two young women in a near-future, soft sci-fi setting. First serialized on the popular app and website WebToon, Always Human amassed over 51 million views and nearly 700,000 subscribers. Now, for the first time, this incredible story has been reformatted for a print edition! Along with the sequel Love and Gravity, get ready to fall in love with this ground-breaking story of support and romance. "This beautifully illustrated slice-of-life tale that shows two young women of color getting to know each other and creating a relationship is so warm and charming that readers will hardly notice how much they are learning about how to better interact with folx who are different from themselves and the importance of not making assumptions." -- Kirkus Reviews "...soft, expressive art adds a visceral charge to the couple's very human experiences, which range from excitement and affection to pain and doubt." -- Publisher's Weekly "This wholesome plot focuses on building understanding, offering mutual support, and budding self-acceptance, as well as the importance of asking rather than making assumptions; avoiding othering; and regarding all those in one's orbit with compassion...A charming, sensitive story of love and acceptance." --School Library Journal " In a technologically advanced near future, two young women bumble through their first dates and fights together as they enjoy the exhilaration of new love....Always Human by Ari North is an endearingly feel-good sapphic romance set against a diverting futuristic backdrop." --Samantha Zaboski, Shelf Awareness In the near-future, people use technology to give the illusion of all kinds of body modifications-but some people have "Egan's Syndrome," a highly sensitive immune system that rejects these "mods" and are unable to use them. Those who are affected maintain a "natural" appearance, reliant on cosmetics and hair dye at most to help them play with their looks. Sunati is attracted to Austen the first time she sees her and is drawn to what she assumes is Austen's bravery and confidence to live life unmodded. When Sunati learns the truth, she's still attracted to Austen and asks her on a date. Gradually, their relationship unfolds as they deal with friends, family, and the emotional conflicts that come with every romance. Together, they will learn and grow in a story that reminds us no matter how technology evolves, we will remain . . . always human. Rendered in beautiful detail and an extraordinary color palette, Always Human is a sweet love story told in a gentle sci-fi setting by a queer woman cartoonist, Ari North. Published in partnership with media advocacy organization GLAAD, this empowering book positively represents LGBTQ families.

This book explores the North in Russian romantic literature as a symbol of national particularity. It largely ignores the vogue of Ossian, being primarily concerned with the significance of the North for Russia's national self-image. The author demonstrates how, starting with Lomonosov, the North initially functions as a symbol of Russia's 'new' European identity. Gradually it acquires a different ideological charge, giving voice to growing resentment over the inroads of western culture. By the turn of the century, the North no longer denotes Russia's supposed Europeanness, but its 'unique national' spirit, believed to have been polluted by the slavish imitation of the West. By this time, the theme of winter was discovered as an appropriate vehicle for the expression of nationalist sentiments, culminating in the popular myth of the winter of 1812 as an ally of the Russian people. This study also investigates the theme of 'northern homesickness' as opposed to the lure of the South and concludes by examining the national stereotypes of Russia's northern neighbours, the Swedes and the Finns.

This book examines British scientific and antiquarian travels in the "North," circa 1790–1830. British perceptions, representations and imaginings of the North are considered part of late eighteenth- and early nineteenth-century processes of British self-fashioning as a Northern nation, and key in unifying the expanding North Atlantic empire.

Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.