Although occultists like the antiquarian Montague Summers would like to claim that the belief in vampires is global and transhistorical (and therefore probably true), the vampire is a thoroughly modern being. Like the Gothic genre itself, stories of vampires emerge in the Age of Enlightenment, as instances of primitive superstition that help define the rational scepticism of northern, Protestant Europe.
One of the more affordable forms in which it is possible to acquire the manuscript signatures of Victorian writers today is the used cheque. Quantities of these minor, sometimes biographically revealing, documents left the archives of banks and went onto the open market in the 1990s; they now circulate through the catalogues of manuscript dealers and in the online pages of eBay, some of them leaving traceable e-narratives of their patterns of ownership.
Tales of vampire-like creatures, demonic consumers of human flesh and blood, have permeated the mythology of almost every culture since the dawn of time. Yet while the vampire as we now know him became a popular source of folklore terror in Eastern Europe in the 17th and 18th centuries, it was not until 1897 that Bram Stoker introduced the world to the most famous vampire of all.
As we approach 26 March 2015, the centenary of the publication of Virginia Woolf’s first novel, The Voyage Out, it seems apposite to consider how her writing resonates in the twenty-first century. In the performing and filmic arts, there certainly seems to be something lupine in the air.
Imagine that your local pub had a weekly, book themed quiz, consisting of questions like this: ‘Which writer concerned himself with religious toleration, explored vegetarianism, was fascinated (and sometimes repelled by) sexuality, and fretted over widening social inequalities, experienced urban poverty first hand while at the same time understanding the causes of man made famine?’
Catherine’s removal from the plot (other than as a haunting presence in the background, much less potent hereafter than the waif-like child ghost whose wrist Lockwood rubs back and forth across the broken window glass till the blood runs freely (p. 21)) has seemed to some readers to weaken the second half of the novel. One modern critic has suggested, indeed, that the whole of the second-generation narrative was an afterthought.
Are you part of the Oxford World’s Classics Readfing Group? The following is an extract from the current selection, Wuthering Heights, by Emily Brontë, taken from volume II, chapter II, pages 147-148 in the Oxford World’s Classics edition.
Last week we announced the launch of the Oxford World’s Classics Reading Group, and the first book, Wuthering Heights by Emily Brontë. Helen Small, editor of the Oxford World’s Classics edition of the book, has put together some helpful discussion questions that will help you gain a deeper understanding of the text as you read it and when you finish it.
We’re excited to announce the launch of the Oxford World’s Classics Reading Group, an online group for everyone who is interested in reading and discussing the classics. The Oxford World’s Classics social media channels will provide a forum for conversation around the chosen book, and every three months we will choose a new work of classic literature for the group to read.
Despite fierce winds, piles of snow, and the biting cold, winter is the best season for some cozy reading (and drinking hot chocolate). If you’re inclined to stay in today, check out these favorite classics of ours that will take you on wild adventures, all while huddled underneath your sheets.
Scotland has remained in the media spotlight throughout 2014 for one reason: the referendum on independence from the United Kingdom. This was the most significant event to have taken place in Scotland since the creation of the Union in 1707.
A ‘slobbering valentine to a member of the upper classes’, ‘an orgy of snobbery’, and ‘the apotheosis of brown-nosing’: Angela Carter’s excoriating dismissal of Virginia Woolf’s Orlando (1928), delivered in Tom Paulin’s notorious televisual polemic, J’accuse Virginia Woolf (1991), serves as a reminder that this work has as much potential as any of her novels to provoke heated disagreements.
In AD 14, two thousand years ago this summer, the emperor Augustus, having dominated Rome for over forty years, finally breathed his last. The new emperor was his step-son Tiberius. While Augustus’ achievement in ending civil war and discreetly transforming a republic into one-man rule provokes grudging admiration even from those who aren’t keen on autocracy, Tiberius has very few fans.
Roman literature often derived from Greek sources, but took Greek models and made them its own. It includes some of the best known classical authors such as Ovid and Virgil, as well as a Roman emperor who found time to write down his philosophical reflections.
This selection of ancient Greek literature includes philosophy, poetry, drama, and history. It introduces some of the great classical thinkers, whose ideas have had a profound influence on Western civilization.
Every Friday this October we’ve unveiled a part of Fitz-James O’Brien’s tale of an unusual entity in What Was It?, a story from the spine-tingling collection of works in Horror Stories: Classic Tales from Hoffmann to Hodgson, edited by Darryl Jones. Today we’re wrapping up the story with the final installment. Last we left off the narrator, Harry, and his friend, Hammond, tied up an invisible entity, shocking the boarders of the haunted home where they had been staying. Will they learn more about the mysterious creature?