Oxford University Press's
Academic Insights for the Thinking World
By George Cotkin
Moby-Dick draws readers into it. And many of its more creative readers have sought to capture its grandeur on film and stage. From the first film in 1926 to the present, these attempts have taken liberties with the novel, sometimes for good, sometimes for ill. But that is the challenge that Moby-Dick offers its readers, a text that is deep and wide, an ocean of issues and concerns that we must all, in some fashion, navigate
By Jeffrey J. Williams
The academic novel is usually considered a quaint genre, depicting the insular world of academe and directed toward a coterie audience. But it has become a major genre in contemporary American fiction and glimpses an important dimension of American life. In the past twenty years, many prominent American novelists have contributed their entries, including Paul Auster, Ann Beattie, T. C. Boyle, Michael Chabon, and Percival Everett.
By Gregory Tate
2012 has been a good year for the Victorian novel. The dizzying number of adaptations, exhibitions, and readings which have been organised to celebrate the bicentenary of the birth of Charles Dickens testify to the ongoing popularity of nineteenth-century fiction, and of this most famous of Victorian novelists in particular.
OUP has just published the second and revised edition of The Oxford Book of American Short Stories, and we were happy to welcome Joyce Carol Oates into our Madison Ave offices recently to sign stock, and to meet staff. Here are some photos of her with OUP employees.
A remote village covered almost permanently in snow and dominated by a castle and its staff of dictatorial, sexually predatory bureaucrats — this is the setting for Kafka’s story about a man seeking both acceptance in the village and access to the castle. In The Castle, Kafka explores the relationship between the individual and power, as the protagonist K. asks why the villagers so readily submit to an authority which may exist only in their collective imagination. In the following excerpt from the new Oxford World’s Classics edition, K. first encounters the castle and the strange power it holds over the village.
Stephanie Li
While our presidential candidates are known far in advance of the Democratic and Republican National Conventions, party conventions remain intriguing spectacles for the kind of human detail they offer about the men who aspire to the Oval Office. Every four years pundits and political commentators observe that conventions have become increasingly scripted affairs that lack the spontaneity of times past, but party conventions serve to present individual narratives as much as specific policy positions.
Tonight sees the start of a major new drama series on BBC 1, The Paradise. Adapted from Zola’s novel The Ladies’ Paradise (Au Bonheur des Dames) and set against the backdrop of the spectacular rise of the department store in the 1860s and 70s, the story follows the fortunes of a young girl from the provinces who starts work as a salesgirl in the shop, and her entanglement with the charismatic owner. Oxford World’s Classics is delighted to publish the tie-in edition of Zola’s novel, in a compelling translation by Brian Nelson.
On 24 September 1896, F. Scott Fitzgerald was born. While remembered today for his masterpiece The Great Gatsby, Fitzgerald made his living off short stories. He chronicled life of the 1920s and 30s with unparalleled versatility, whether as parody, tragedy, fantasy, or romance. His attitude to the charisma and vices of America’s privileged was complex and often ambivalent. This dichotomy is reflected in the following from “The Camel’s Back.”
By Alastair Fowler
Names and naming are topics of perennial interest, but until recently there were few general discussions of names as a literary feature. This is strange, since questions about names keep coming up in criticism. How are character names chosen? Are literary names always meaningful, or are some characters named quite casually? Does each genre have a list of first names available only for that sort of writing?
By Cécile Fabre
On the eve of the battle of Borodino, Prince Andrei Bolkonsky, one of the main characters in War and Peace and, in that scene at least, Tolstoy’s mouthpiece, describes war as follows: ‘But what is war? What is needed for success in warfare?…’
By Patricia Fara
Darwin and evolution go together like Newton and gravity or Morse and code. The world, he wrote, resembles ‘one great slaughter-house, one universal scene of rapacity and injustice.’ Competitive natural selection in a nutshell? Yes – but that evocative image was coined not by Charles Darwin (1809-1882), but by his grandfather Erasmus (1731-1802). Although Charles Darwin is celebrated as the founding father of evolution, his neglected ancestor was writing about evolution long before he was even born.
By John Hale
John Milton wrote his systematic theology, De Doctrina Christiana, his “dearest possession,” in Latin — a usual choice for a theological work, but with many unusual aspects. Language was a choice, not a foregone conclusion. Continental theologians could be rendered into English (for instance, the work by Johannes Wolleb).
By John L. Heilbron
Galileo is not a fresh subject for a biography. Why then another? The character of the man, his discovery of new worlds, his fight with the Roman Catholic Church, and his scientific legacy have inspired many good books, thousands of articles, plays, pictures, exhibits, statues, a colossal tomb, and an entire museum. In all this, however, there was a chink.
Today sees the launch of a major new publishing initiative from Oxford University Press – Oxford Scholarly Editions Online (OSEO). OSEO will provide trustworthy and reliable critical online editions of original works by some of the most important writers in the humanities, such as William Shakespeare and Ben Jonson, as well as works from lesser-known writers such as Shackerley Marmion.
By Max Saunders
This year’s televisualization of Parade’s End has led to an extraordinary surge of interest in Ford Madox Ford. The ingenious adaptation by Sir Tom Stoppard; the stellar cast, including Benedict Cumberbatch, Rebecca Hall, Alan Howard, Rupert Everett, Miranda Richardson, Roger Allam; the flawlessly intelligent direction by award-winning Susanna White, have not only created a critical success, but reached Ford’s widest audience for perhaps fifty years.
By Christopher Cannon
The editing of Chaucer’s Canterbury Tales in the form in which we now read it took many decades of work by a number of different scholars, but there is as yet no readily available edition that takes account of all the different versions in which the Canterbury Tales survives. Some of this is purely pragmatic. There are over 80 surviving manuscripts from before 1500 containing all or some parts of the Tales (55 of these are complete texts or were meant to be).